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^n© P«ft^ '?^»**«!ic. 

Wooda N. Carr 



by Wooda N. Carr 

Copyright © 2007 by Wooda N. Carr and Wild Cat Books 
All Rights Reserved. 


Ron Hanna 
Editor & Publisher 

All Letters, Photos, and Correspondence are the property of Wooda N. Carr and Used with Permission. 

All Character Images and Covers included are Copyright by the Respective Owners, and are used under the 
Fair Use Law regarding Historical Reference, and no claim of ownership is made by the Writer or Publisher. 

Portions of this book originally appeared in a small-press edition in a limited quantity. 


10 987654321 


This is a book that has been long in coming, and long overdue, that collects 
together all the many "scraps" of Nick Cam's extraordinary life in Pulp Random. 
Besides having written many articles, essays, and books, he was lucky enough to 
grow up in a time when the "Bloody Pulps" were in their full blaze of glory. As he 
mentions in his Preface, an entire generation claimed this era as our Literary Heritage, 
and even today many people are still discovering the wonders that encompass this 
part of America's Golden Age. 

However, Nick delved even deeper into the depths that lay behind the scenes. 
He wrote many letters to the actual creators of the pulps: Publishers, Writers, 
Artists... all were his friends... and he has many wonderful memories and meetings to 
share with you here. Included are actual letters, photos, and artwork that he has put 
together in a "Scrapbook" that reveals many insights into the background of his life 
and the people he knew. 

Wild Cat Books is pleased to present these actual photocopied reproductions in 
one volume. There was a small, limited press run that was put out a few years ago, 
but that only contained half of the material included in this Deluxe Edition. Technology 
has advanced enough that these tattered pages can now be gathered together in a 
nice volume, and hopefully last for years to come... 

Some of the reproductions are rough, some covers are worn, but like the pulps 
themselves, paper and newsprint are fragile things, and this is, after all, a 
Scrapbook... Bits and pieces of a lifetime... telling stories, sharing memories... typed 
on his old and trusty Smith-Corona (no computers or fancy word processors for 
Nick!)... and hopefully inspiring the next generation to continue in his footsteps... 

Nick was, and still is, my mentor, and very good friend, and I'm eternally 
grateful he chose me to carry on the tradition of keeping the pulps alive and well into 
the 21"' Century... 

Thanks, Nick, for all you've done for me personally, and for all you've done for 
Pulp Random... You're one-of-a-kind... and so is this book... 

Ron Hanna 

Winchester, VA 


NOTE: The addresses of the writers and artists have been blacked out by Mr. Carr to protect their privacy. 






by § 








Trit; GHOST 


fp Tj o ^2 

I — I *-* i 

nJ ! 

5B i 



I welcome you to thet ff.soinsting world of the pulp msgezines, those 
ten cent iseues (in the beginning et least) nsBny of us rerd e long time 
ego. You will see many different covers, mnet the ohr-rscters, reed e few 
of the meny letters written to me by the men v.'ho wrote the stories. 

I just thought it wBS ebout time to shere their coamients with esch of 
their letters being included in this book. 

These letters p.nd even the covers are now e pert of our literery 
heritage. Also meny of the writer's are no longer with us. But they left 
behind stories end worlcs of ert thst held us in e««e ps we et^gerly read 
every pege . .ihen the story ended we couldn't neit for next nionti. 's issue 
to show up pt the locel news -stand in our home town. 

Indeed the pulp megrzines were s pert of Americe's literary heritage. 
It WBS the proving grounds for meny a writer in the years to follow. 
For e smell amount of money — but pretty big for you and I bsok then 
thoi;e euthor's took us from the rfestern frontier to the fsr reaches of 
outer spfoe. The rjomen had their love stories; the men adventure, even 
terror end horror reered it's ugly heed-. But we loved every single issue, 
and some of us carried copies home hidden inside our coet or even '- violin 
case ES I did with one perticuler issue of the Spider. 

So — turn the pfige and return with me to yesteryear --end please stay 
for a long timei 



"Cover's Sell MagasinesI" 

Harry Steeger, President, Popular rUblieations. 

Those words were written in a letter to me , March 2^, 1975' He continuesj 
"You would have thought our cover's were designed for adraission to the Louvre, 
judging by the amount of care and time we put into them. It amuses me now to 
remember that every single cover Popular ever used until we sold it in 1972 
was planned by me and the artist and then chosen by me. I kidded people by 
saying I bought more of those oil paintings than anyone else in Hew York." 

in May of 1900, artist Morman Saunders wrote to me as follows: "1 think 
Walter Baumhofer was the greatest pulp artist that ever existed. He was one 
of the very first to respect the pulp magazines and his own product to the 
extent that he always painted from live models. Prior to Walt the average 
pulp cover lainter used old scrap and clip of other pictures to produce a 
pulp cover. There were few exceptions. He had a male model that he employed 
on a weekly wage for a number of years. It was the magaaine Doc Savage that 
gave him the opportunity to turn out a class "A" cover and he made the most 
of it. He really hit his stride when Steeger hired him for Popular Publica- 
tions western, mystery and detective covers. He really turned them out— all 
of them ^ood along with a namber of excellent ones. 1 could go on about hia 

„,« Judsun V. f'nilipi— J. Milan Ul 






and the end would still some out as the greatest pulp artist ever." 

Saunders painted covers for a variety of magazines including Dell, 
Street and Smith, Fiction House, Ace, Black Mask, Westerns and those Saucy 
issues. His first cover was in Oetober, 1935 ^o^ Dynamic Mventui'es, bought 
by Bill Lawler, Art Director for Street and Smith. He usually signed his 
paintings during the Thirties, but stopped in the forties. 

At one pulp magazine convention in Dayton, Chio, Saunders and I along 
with Harry Steeger were having a drink in the bar when Saunders related 
the following story: He had painted a number of covers with a morgue back- 
ground, Si those early days no photographs were allowed, so he had a min- 
ister friend who wrote a letter of introduction, which introduced him as a 
student mortician visiting New York Gity and please allow him to look 
over the place* H? got inside, had' his look' ^otiii4'»''6B6e-'ba©lt outside h(6 ■ 
Biade his' peneil-slietshes, thus' giving" him soaie first hand information for 
future use* 

In the December 1935 issue of Public Eneay, Saunders not only did that 
cover but also wrote a note to ne which I've reproduced* 






^B ^i' ;;(,. FREDERlCKiHEBEL 

DR. ZiK3 from POPULM 

In my files is a short note from Walter Baunhofer that reads: "The time 1 
spenT. in the pulps about ten years were I think, the most fun of my whole 

Another artist I have met, shared many visits with and corresponded is 
Eobert G. Harris. (Most of you who have read my book "The Western hxl^ Hero," 
know of ray relationship with this wonderful individual.) 

There is one particular letter he wrote about a specific pulp cover worth 
relating! "Thanks, Nick, for your reply on the question of the legitimacy of 
a Masked lider western cover. lour photo copy of course quickly solved this 
little problem. In 1935 I did a cover for Thrilling Western magasine, May issue, 
with illustration subject «atter as sHbM^ in your photo. It ran under a lead 
story, "land of Hot Lead," by Bussel Bankson. Nok, it so happened "Masked aider 
Western" is or also was a Thrilling Biblication. So in 1938 in order to save 
a couple of bucks the publisher ran this cover a^in under a new title. The 
only change thay made in the re-riffl--the cowboy on the horse is now Kearing a 
mask over his eyes and they dropped out the scenic baokground for a flat solid 
color. It amazes sie that I did a Masked fiider Western asd didn'-t know it." 

(Below the reader will see a snapshot of Harris holding up oae of- his paint- 

There is also a smaller cover of one Dime Detective issue 1 would like to 

get my hands on. But to date it has never appeaxed anywhere*. 

Someone once asked if I had any magasines kept for speaial reasons. Indeed. 
die in particular is Big Book Western, Noveniber, I935, only because the cover 
depicts General George Ar«strcaig Custer in the wrtsag attire. He is show in 
regular uniform whereas he wore buckskin in the actual battle* 

I do have a few signed by both artist and author. There is also the february 
of 1935 copy of Dime Detective maganiae!: presented to me by Shirley Steeger* 
It eame from her husband's private colleotion. 

The Doc Savage ©over in my library was signed by Mobert G. Harris, is to 
the Terror Tales coRy^e-I just liked this cover in particular* 


■H They were "a dime a dozen," those men end women, hero end villein, each ^H 

HBI unique. You will probably recognize n-any of them. I am fortunste to heve a SS 

^^ complete set of Operator 5« ^^y book "Americs's Secret Service Ace," W8s of ^Q 

SBS course ell about him snd his edventures. I wss most fort'onate in that artist — 

^S Frsnklyn Hamilton did the cover. His original sketch hsngs on my spprtment wall^S 

BBB Frank elso did the covers for two other books, "The Flying Spy," about G-8, I— 

^S and "The Other Detective Pulp Heroes." ^S 

^K The book "The iiestern Pulp Hero" cover was sketched by Lester Belcher. In ^S 

fgggi the .inter of 2001, .vildcet Books published "The Pulp Hero," end again ^Si 

^B Frenklyn Hamilton's artistic touch is visible on the cover. ^S 

IBB There is one final thought before you turn the pagej I DOK'T THINK FOR ONE ^S 


^m THI::^ VOLUME i ^m 

x^- ^. 


Of THE ^ 

iRucHinc (ORPsr 


Honolulu, Hawaii 96314 
August 13, 1973 

Dear Mr. Oarr: 

I would be very glad to answer 
(memory permitlng) any questions you might 
"■are tobsk about the pulp magazine writing 

As to the ones you asked in' your 
letter. ... (1) I may recall other names of the 
chaps who wrote The Phantom Detective, but at 
the moment I can think of only one. ♦ Gorman 
Daniels. Most of the top pulp writers of that 
period did a Phantom Detective now an then, I 
can remember what some of them looked like, but 
their actual names elude me at the moment. The 
same goes for those chaps who j pined me in 
Writing the Lone Eagle series, another big 
seller in those days. Both mags were published h^/ 
Standard Magazine ^nd the editor was Leo Margu- 
lies. (you might find him in th NYO phone book) 

an Emile 0, 

of the mag Operator 

help you there. 

(2) I don't recall ever hearing of 
Tepperman (though of course I knew 

5) so I§m afraid I can't 

(3) As to comparing Dusty Ayres 
to G-3 let me say that G-8 was by far a more 
popular magazine, and lasted much, much longer, 
Robert J. Hogan who wrote every G-8 (now dead) 
"^ one Qf my closest pals. As to the magazines, 






m t mfimm^ 

-fl «""■ iJWWO 


they were similar in that the hero ws a red 
blooded, all- American boy who continuously 
tackled the absolutely impossible|in the air and 
saved the day for God and country every issue. 
The difference is that G-3 did his stuff in 
World War I, and Dusty did his stuff in a war 
against the USA that was supposed to take place 
in the far distant future. The Dusty Ayres was 
only a twelve issue thing, and was something 
Harry\Steeger and I thought up one day in the 
early thirties when we ^were having lunch together, 

Kell, I guess that's it. Send some more . 
questions, if you like, and please pardon my ^^^ 
typing. The old hands are not as steady as they 
once were. 

Aloha nui loa, 

Robert -Siiti 

:/^' ifs^'- V- . .,- ^E- t:- ■•'; ss'.- -'" ~isJ*?-«i:- 

^^L.-^- _ 



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dear Vfooda (or do 50U prefer Nick?) Garr ... " 

ThanSs very much for your interesting letter. Tom Johnson 
had said you might be getting in touch. I do appreciate 
that signed 'plate' for my copy of your Q-8 study, which 
I really enjoyed reading; in fact, a few we^s before Bob 
Weinberg sent it along (I traded an autographed AMERICANS) 
I had asked him whether there were any copies still available 
of your Operator 5 study. Alas, no. 

Your Spider book Tuill, I hope, be alcng before too majtar more 
mcnths; my favorite pulp character, * 

Somewhere I had read that you were John Dickson Ggrr's 
<l$tf cousin - and Jbhat J.D.C. had died up in Columbia, about 

^ 3 hours froai^pre. I didn't realize he had SO ccrmections. 

By coincideK^WaiT was the first writer I really flipped 
over - no, iTtake that back; Bradbury was first, thaa 
Garr - and, as beginning writers do, I tried to imitote 
him. Certainly no one could do that competently. I wrote #1 
one no vel in his style - or what I thought was his style ->^tT 
*" • IBBi never sold, iDat at our beach house where most of my 
'keeper' books are stored, I have virtually a ocmplete " 

collection of his worics - either in hard covers which I 
bought newf 2nd hand hard covers! or paperbacks. I don't 
think OHE BEVIL IN VELVET has ever been surpassed H| 
in the adventure novel field; even JDG^s later historical 
mysteries never matched that first cue, in my opinion. 
He was a masterful writer, and I'm sorry to see so f ew cf 
his things still in print. On the other hand, I'm confident 
he vail soon be "rediscovered" - as the pulps have been. 

Thanks for those good words about my work. That prods me to 
ccnclude this, and get back to my research reading for the 
day - a 118-year-old volume, a personal moaoir, I'm reading 
as part of ssg- work-up on the next novel. 




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'•■-r, . . . \.S;, , 

11 March 73 

Dear Nick, 

This is belated thanks for the photographs and the photo- 
copies in connection with your research into the Op 5 stories. 
I'm sure no one has gone nearly as deeply into the subject as you 
have, and of course I'm very flattered. 

Before answering your questions as best I can, which 
I'm afraid isn't going to be very good, I must make a point. 
You are rereading and studying the Op 5 series now, and so of 
course details are fresh in your mind. But you must not forget 
that I was writing these stories 38 and 39 years ago. At this 
same time I was writing many other pulp stories, ^he J)p S stories 
ran somewhere between 50,000 and 60,000 words e achjTvtfas^o ing *" ^ 
then added up to about the same wordage. Just as I am unable to 
recall very much about the other stories, so I'm vague on the 
details of the Op 5 stories. I regret that this is true, but 
there's simply nothing I can do now to improve my memory of my 
Work in those days. 

With that understood, You'll easily see that I can 
tell you nothing about the origin of the skull ornament on Op 5's 
watch chain, except that it was one of the many embellishments 

I dreamed up for the series. It's the same way with 1-1 

today I haven't the foggiest idea whether that's the despjgnation 
of a secret agfent or a submarine. 

I can tell you, however, about ghe names of Op 5 and 
Jimmy Christopher, because this is something that happened to me 
personally and not to imaginary characters on paper. I first — 
recounted this incident to Ron Goulart , who used it as the lead 
of one chapter in his book about the pulps, "Cheap Thrills." 
When I was called into the offices of Popular Publications for 
a conference about writing the series by Harry Steeger, the pub- 
lisher, and Rogers Terrill, the editor, the cover picture for 
the first Op 5 story had already been painted. Perhaps it had 
already been printed, and if so, then the title of the first 
story (still unwritteVi^, of course) was also on the cover. In 
either case, the title of the series. Secret Service Opatator #5, 
was born in the editorial of ices, and I had no part in that. 
But I did have full part in choosing the name of Jimmy Christopher, 
Tim, Diane, and all the other characters. 

While carrying on my correspondence with you and other 
Op 5 fans, I have wondered about the writer who took over the 
series after I resigned from the job. Have any of you tried to 

trace down Emile Tepperman and if so, v/hat have you learned 

about him? 

I'm sorry to have left foggy holes in my answers to 
your questions, but I'm sure you understand. My best--- 








% \ 


Judson P. Philips 

November 20,1979 

Dear Nick Carr:- 

Sorry to be so long in catching up with you, 
but a trip, a return to find myself late with a book and a 
stack of mail. I'm glad you liked Bernard Drew's reprint of 

The Park Avenue Hunt Club story. 

Unfortunately I can't help you with ^ile C. Tepperraan. 
I hate to admit it, but in the days when I was grinding out 
forty or fifty thousand words a month for the pulps ray eyes 
were fixed firmly on the "slicks". The Saturday Evening Post 
was the holy grail. Well, I made it— and long aftewrwards I 
realized I'd been very cavalier about a medium that had made 
me a professional, whatever I wound up being. 

Yes, I used to know Ken Crossen very well, both as an 
editor and later as a personal friend. It's been about thirty years, 
however, since we've had any contact. If you are ever in touch with 

hiiR dp_3ay "hello" from me. _ 

Of course I'd like to see your book on G'8,The Plying Spy. 
You mention Popular Publications— My editor at Dodd,Mead is 
Margaret Norton. Her husband, Alden H. Norton, was editor of 
Detective Fiction Weekly way back, and later a supervising editor 
for Popular Publications' whole chain of magazines. 

Thanks again for writing. Sorry about Tepperman. 
Good luck. 







October 2, 1976 

Dear Mr. Carr: 

I'm sorry to be so slow in thanking you for the magazines. As 
I may have written you, my wife died the end of May; I've been 
away a good bit of the time since then, and now I'm having 
trouble getting back into a working routine. As a result, I'm 
behind on everything, 

I got « copy of Xenophile, also Pulp 8, and The Octopus, and 
have real pleasure looking them over. I'll get off a note of 
thanks to the editor, another thing I should have done much 

On the matter of your book about the pulp hero: I think I wrote 

one, maybe two articles touching on that for the Writers' Digest ~"^^ 

many years ago. It was probably in the late 30s or very early 40s. "--^ 

However, the main thing I remember now is that because of the 

physical demands made on the hero by the usual action plot, 

they tended to be quite a lot alike. They nearly always had to 

be brave, and even when one was allowed to feel fear he had to 

go ahead and do what was needed. Also they needed to be physically 

capable of almost an3rthing. Most were big and strong but other 

gimicks could be used. I had a hero called John Smith that ran 

in Popular Publications' Detective Tales. He was small, but had 

once been blind and had learned to hear more keenly than any other 

human being. If he could get a villain in the dark the poor devil 

didn't stand a chance. In fact, it was usually some device of 

this sort that distinguished one hero from another. The pace of 

the action was so fast there was little room left for zkaxastszxzacb^ijsax 

any subtlety of characteri'^ation. So usually the hero's "character" 

was shown in the particular, personal way in which he vanquished 

the villain 

That's mot much help, but it's the way I remember it now. 

Thanks again for having the magazines sent to me. I do appreciate 

Cordially, .- - 




f9Wt^ Tt/^UmiuftoH 

"•^Ult-. • «?* 

August 30, 1979 

Mr. Wooda "Nick" Carter 

305 S, Val Vista Drive - Space 57 

Mesa, Arizona 85204 

Dear "Nick" Carter: 

Thanks for your letter of August 14. Sorry not to have answered 
sooner, but things have been hectic here. I've been working on a couple 
of novels, I was away on a brief trip and my mother passed away on the 
20th of the month. I am just now digging out from under. Bte-s*'-. 

It's a pleasure to tiear from you and I wish I could be of some 
positive assistance. However, my first pulp story -- a novelette, 
FIND THIS MAN- -WITH BULLETS did not appear until July, 1950. 
after the golden days of the pulps were passed. It was sold to Mammoth 
Western Mag (Ziff-Davis) by Fred Pohl who since has become a great 
name in Sci-Fi, but was at the time an agent. 

Most of the old and great pulpsters I knew -- Dfy Keene, Frank 
Gruber, Fred Davis -- have passed away. 

You might try writing to Talmage Powell -- since I don't know his 
Asheville, N. C. address, you might write to him c/o Scott Meredith 
Literary Agency in NY and ask them to forward your letter. Talmage 
began in the early 40s and knew many pulp editors -- Ejler Jacbbson, 
Mike Tilden, Harry Widmer, Don Wollheim and others. 

I came along in the early 50 's -- my first newspaper short-shorts 
were sold in 1943, and I sold a couple of novels in 46 - 47, but really 
began to sell in paperbacks and the men's detective mags after 1950. 

Is this any help? You're involved in a fascinating subject and I 
wish you good hunting and I'll help any way you think I can. 

With every best wish. 






15 July 1992 

Dear Wooda , 

Just received a copy of THE OTHER DETECTIVE PULP HEROES from 
Doug, and what a great job it is. I picked it up to skim it, 
intending to get right back to work on some correspondence I was 
in the midst of, and didn't put it down until I'd finished reading 
the whole thing. 

Loved your introduction. (Thanks for all those generous mentions 
of that bloke Hugh B. Cave.) Loved the illustrations. And, of 
course, the whole book brought back a host of memories. 

If you saw that little piece of mine in Pulp Fault #10, I should 
tell that it's only the first of 19 such pieces that I did for 
Doug a while back. Had no intention of doing so much, but when I 
got going on it I couldn't stop. So now he has 60,000 words of my 
reminiscing about my pulp-writing days, and we're talking about 
the possibility of his doing them as a book like yours. I hope it 
comes to pass. I'd be really proud to see my name on such a 
handsome and carefully published book. Especially as I know Doug 
would fill it with copies of the original illustrations for many 
of the stories mentioned! 

Things go well here. A Polish publisher is doing six of my last 
seven novels. England and the U.S. are co-publishing a collection 
of my fantasy/horror tales with cats in them. I have a whole heap 
of short stories — well, 16 — upcoming in hardcover anthologies, 
plus 6 more in magazines. And a new film company is interested in 
doing my latest novel, LUCIFER'S EYE, as a TV movie. 

Peg and I are in good health and rolling along as usual. Hope 
all's well with you and yours. Congrats again on a most " 
interesting and handsome book. I'm mighty proud to be mentioned 
in it. 





I eeor 




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Icrry Hiiard 


^ nj^^mm*^ 


Dear Mr. Carr- : '--,. "- ''*r V;;.", 

I' -re been quite ill, but I'm back at my desk now. 
I hope Y/hat little information I can give you won't come 
in too late to help you. 

I don't remembef" Emile Tepperman. While I was 
a pulp v/riter from 1932 on, after '37 I was on the . .' :- 
Vi'est "oast, and out of touch with my colleagues. 

As to Nick Carter, I wrote the-flrst. seventeen — - - 
novels to come out in magazine form. I started in the 
fall of 1932, and the first issue, naturally, came out 
in '33. I wrote all seventeen in ten months, but Street 
& Smith paid me so little that I wrote two short stories 
a week at the same time. I have slowed down since then. 

The short stor es appeared in the back of Nick, 
The Shadow, Pete Rice and Doc Savage . Lester Dent 
wrote Doc Savage, and I cannot remember who wi^ot .._ Pete — - 
Rice, a "vestern. 

-< Dejrct ve fiction "'eekly, a Munsey book, needed a 
crime ifrriter, and Jack Byrne, then the head of Fiction 
House, told me to go down there, and thereafter, I 
free-lanced, avoiding the Nanovic divisiom of S 8:S. 

I sold a lot to Popular Pubs. ; "like Tilden there 
„.ha.d,.bLeeh an edltor-at S»8l Tw. v;hen I was. 

,1 Apilogles again or taking so long to ansv/er you. 

Cordially, ^ 


Sft'^lfSSIS^-W!**-" S 'r*'^^?:^^. '^^S^Si'li 


Ken Clayton 


^^""^Sl Stewart (/fJ^ 

John Garraway 


Sear Mr Carr — 

Thanks for your tv.'o letters and the Junlic-tps of thosr- 
°1^^^°;^^£:^ f^,ill^?tr.tions. Franklv, I'd forgotten my name v^rnt on 
bioM OVr^i-i G-'.n.I3 '^AY. Nov/, your ruestions: 

1. I mrt only Le.-ter D.?nt, Ions: a=:o, one timp. He vjps e-^^t-aor-^ 
^n q^^, ^^'^.P'' 1930's, for having a beard. I only hesrd o/ Gibson 
and btockbrxde-e. Not enough to comm-nt. 

thp ^'nt'^SV t ^j4'iilT^/^^J' ' ^^^1^^^ ^^c^^t for all 

^ "il T ^-J-'i'^^Ji ifJUiiCW v.TLth rav stone'-.. Just nov^ — no 
need, but I may impose on your sometime. 

3. Never r'-ad Ghean Thrills, but I've heard of it. 

h. And, again sorrow, but I don't know who Robert '^-"a 11a ce vras. 
laos^^ who would kn^w have died, I fear. I'll ask K;..rl V,sgner. 

5. Thanks, I'd like a copy of x'^ULP. t -/-- 

^ _ 6. About the villains, DOG 3.?aGE had some z^pRt ones. Cnce 
ooingso:ne thing tot Mort Weisinger (Better Pubs], I was stuck for' 
a villain and said, "Kow about a mysterious 6hinaman?" And he cried 

i^o, no, a thousand times nol" Once I v/rote for 3T.^RTLIl.iG STORr.S ' 
a s-f booklength called T.IGS IN TBE, later Dunlished hardcover ' 
and pa-erbeck. a young scientist went. back to' Florence, circa 


1^66, and in the last 

ra grants found he would be youn.? Leonardo 

da Virci. ihe villain here, named toxxxaKH Gusracco, s^munx^ took 
long, careful study and research. Years afterv;ard, I felt re-^aid 
vjhen Richard McKenna the brilliant author of TK^. smn pt^eBKS end 
also_one of the s-f greets, declared that Guaracco was a true 
renaissance g2±3c figure; erudite as McKenna was, I felt comnUmented 
In a series I did for VSIRD TALES, about a psychical ' detective 'named 
tJohn ihunstone(sch-dulpd for a book maybe year after next) I had 
a villain called Rowley Thome, nretty well realised as a h-^unted 
unhanpy -modern sorcerer. I based him on Alistair Growler- whom l' 
didn t know except by his sleazy re nutation. Once I was asked, 
vhat If GrovOey sues you?", to which I said, "Tell him I d'-,re him." 

^ I_^should have said before, I trera-ndously admire vour cousin 
tJopn lackson C-rr, and knew some of his friends — CHKistopher Morlev 
i^dgar bmit's of the old Bgker ftStreet Irregulars. Also, I think 

John T. Metcalfe knew ^ ~. . <- - ? 

dead now. 

liked him. Chris," Edger and John are all 

I hooe there's some help in all this. Good luck. 

STEV3 R££.3t; 

:;ui:Sy T:-5ill 



Joe Archibald 

Sftptemlser Yth. 

Dear W0©da: 

Dammit, I've mislaid your last letter and must 
ask you for the address of your friend, i?red Siehl. I re- 
ceived an old Flying Aces mag dated in the thirties from 
Al Grossman a few days ago and I owe ray thanks to all you 
pulp leuffs. You n© doul»t remember the old aviation writer, 
R. Sidney Bo^en? ,He is sweating out a terminal illness 

years. We 
a long time ag© and 
or three years. My wife 


in Hawaii where he's lived for the past fifteen 
were fellow culs reporters in Boston 
shared diggings in Nevj York for two 
is his first cousin. 

It looks like Emil Tepperraan has gone the way 
of Judge Crater and Jimmy Hoffa for I've Iseen unable to 
get the slightest lead regarding him. A reunion of the 
old pulp writers shoiald have teeen arranged twenty years 
ago. What a teash it would have aeenll What lies could 
have teeen swapped, especially if Alexis Rosoif would have 
■feeen there. Does his name ring a teell? 

When the spirit moves drop me a few lines and 
keep l»uilding up those nostalgic files. 

My l»est. 








G'almaqe G^owell 

PHONE: (704) 254-2291 

April 8, 1980 

Dear Nick Carr, 

It was nice to receive your note of March 31. 

I'm afraid I can't give you very much on Tepperman who, as I 
recall, was not among the most prolific. Day Keene, a fine pulp writer, 
was a very close friend of mine for many years, and I have a recollection 
of one evening when Irene, Day's wife, referred to Emilie C. Tepperman 
as a woman. Just how the name came up in passing I have no earthly 
idea, and I haven't the faintest idea why Irene made the reference. I don't 
know if Irene had any specific knowledge of Tepperman or if her remark 
was something of a facetious bon mot or play on words in passing coversation. 
In any event, the grain is passed along for whatever it's worth. I think that 
Don Wollheim bought as much Tepperman copy as any editor, when he 
was with Wyn. The last I heard Don was publishing DAW books. He 
might be able to tell you something about Tepperman. 

~^ ' " "' ^ I Would suspect that ytra probably, through your research, know ■— ^^=- 

more about Fred Davis than I do. We appeared together several times 
in magazines, and he once resided fairly near me for a time in Florida. 
But we never seemed to develop more than a pleasant acquaintanceship, 
just never being around each other that much. 

I regret that I never had the pleasure of meeting your cousin. 
I've read a good bit of Carr/Dixon, and I wouldn't be surprised if perusal 
of old Ellery Queen Mystery Magazines turned us up together a time or 
two as contents-page neighbors. 

It's good to know that people are keeping the pulp tradition alive. 
It was quite an era. I joined the club in 1943 when I was barely out of my 
teens and published about 200 pulp stories before the magazines all became 

A very close friend, Robert Turner, wrote a book a few years back, 
published by Sherbourne, that might interest you. The rather jawfull title, 
"Some Of My Best Friends Are Writers But I Wouldn't Want My Daughter To 
Marry One. " In recounting his career. Bob covers fields other than pulp, 
but the pulps do figure in, and the book, if you can find a copy, offers some 
"% insight into working, professional writers of the era. 


The Masked Rider 

May 8, 1975 

— <_ Mr. VJoods Nicholas Carr 
^,.- 2210 Chambers Lake Drive 

Panorama City ; 

Olympia, Wash. 98503 

Dear Mr. Carr: 

Sorry to have delayed so long in responding to your nice letter, 
hut I have been trying to locate someone who knows about Emile Tepperman, 
whose name I do remember vaguely, but whose whereabouts and history I 
am not familiar with. 

I do have a suggestion, however. Ron Gouiiirt, the science fiction 
writer, wrote a book aboat the pulps a few years ago and he may have 
discovered something about Emile C. Tepperman in his research. 

You can reach him by writing to: 

Ron Goulart 
72rnStonebridge Ed., 
Wilton, Conn. 06897 
f^Ron does a current paperback series which is a revival of an old 
pulp series.^P'under a di f f erent~name^ He has also done some Phantoms 
^i. and Flash Gordons. I think he would be someone who might be interesting 
to correspond<|f with. 

There are several other people I can think of, but I do not know 
any addresses. One is Sara Moskowitz, who is an anthologist. He has 
compiled a number of science fiction anthologies and has also written 
a book about the pulp days . Perhaps you could write to him through 
his publisher - if you can locate one of his books in the book store or 

As for the peopfle with whom I worked during the days I was at 
Popular Publications, I am not in touch with any of them at present, 
and I am afraid most of them are gone from the profession now in one 
way or another. 

You are right. It was a good era, especially for real escape fic- 
tion, the present time not being a comparable time at all. It may be 
so in the future . V/ho knows? 

It was nice of you to write me and I hope I have helped some. 

YcLurs sinc^ely 

ffiruce Cassiday (^ 



^ ^miam^.CoP^ 

&pt. 12, 1976 

Dear Wooda Carr: 

All I remmiber about Erail Tepperman is that he wrote for 
ACE G-MEN, a terrible magazine for which I did a series 
character much to my embarrassment. But in those days I 
avreaged 600,000 word^ per year and the series's paid 
off, made all the difference in your style of living. 
Reckon I did as many as anyone in Blue Book, the sports 
pulps and the crime pulps. OFFICER MURPHY under the 
byline "Joel Reeve" ran, in fact, for eight years in 
Blue Book. 

And I fell into the present best-selling western series, 
"Buchanan" in 1970 and it's also paying off. 

I wonder if Tepperman was a house name? 

Tod Ballard, Box 1642, Mt. Dora, Florida, :52757 may know 
more about this. He was in the business long before I was. 

I met Gibson at Ted Tinsley's rertfed place on Anna Manka 

in the early 40s. Ted was the "part time Shadow" you know, 
relieving Walt when he became weary. Walt was a great 
amateur magician, 

I published over 1,000 magazine stories before ducking 
into television and films. It was a nice run for me, 
since the slicks paid well and Blue Book a nickel a word. 
And as I say the series cnaracters were the basic gold 
mine. I can't begin to remember them all, John Wade. 
Tom Kincaid (later a paperback series for NAL, shortlived), 
Willy Biulder, The Whistler Kid - oh, there were a dozen 
more. Gave most of my pulps to U of Oregon with the other 
junk they want, letters, etc. I do remember one more, which 
I truly enjoyed, ""The Mad Mulraneys" in Blue Book. ..during 
the war, also Joel Reeve byline. But about the series you 
mention I know nothing. I never read pulps. 

Glad to hear from you. Wyatt is a dear friend for lo, 
these past thirty-odd years. 

The best 

r, r\ \ r,r- 




DONALD A. WOLLHEIM, Publisher (212) 956-6376 

July 2, 1975 

Dear Mr. Carr: 

Thanks for your interesting letter. It perks 
the memory! However I must say that my own recollections 
on Emile C. Tepperman seem to be like everyone else's. 
We all knew his name, we even bought stories from him, 
and nobody can recall anything more about him. Speaking 
of fading into the background.... incredible. 

It's possible that I may have bought his stories 
during the petiod I was editing pulps for Ace — 194 2-45 — 
but I cannot remember anything about him. I do think 
he was slightly earlier than my time. 

August Lenniger might remember. Gus is a literary 
agent, still in business, who may have handled Emile in 
his time. Gus today is a specialist in Westerns, but __ 

he is an old-timer. Write him. August Lenniger, 437 Fifth 
Avenue, New York, 10015. 

Another who may have known him would be Hal Masur. 
(Mazur?) He's still alive and active in the Mystery Writers 
of America, and they should be able to supply his address. 

A good lead could be Maurice J. Phillips, 309 East 
87 Street , New York City. "Mac" wg.s the editor of Ace 
detective and sports pulps before me and surely published 
Tepperman many times. He may remember. I haven't seen Mac for many 
years, but he's still alive and in the phone book. 

And as a final effort, try Joe Archibald, 48 V>findsor Road, 
Port Chester, N.Y. (this address is at least 15 years old!). 
Joe knew everyone in those days and has a good memory. 

Robert Turner probably did not know Tepperman. Bob 
was a lot younger and came into activity about the time Emile 
was phasing out. 

Lot of luck. 



^■<r»^'J'^''''*a"'wy- ■.■---.-'v>^-"v "*»^ 



Muriel Havens 


Mr. Wooda W. Carr 

30 '^ South Val Vista Drive #5? 

Mesa, Arizona 8520i|, 

Dear Wooda: ' 


ay 9, 1979 

Here's a quick hello to let you know that I did re- 
ceive an invitation from Von Crabill to Join Pulpcon 8 
in Dayton. I have written him to say that nothiS Sould 
give me more pleasure, but it is a little t?o earl v?o J 
me to decide yes or no because of the press of work 
hanging over my head at the moment. I will givlMm 
a decision just as quickly as I can and, belfeve me^ 
J- '11 do my best to get there. ' 

Walt Baumhofer phoned me on Sunday and he is ouite 
excited about going out. Ld likJ nothing betLr than 
to com.e along and help support him as the Honoree. 

Itnt^ii ^^^^ ^T''. ^''"t ^"^P ^^ - ^^«^«t Service Oper- 
ator #5 on my desk. I got such a kick out of it that 

lolfVlJ'^-"' '* '^ ^"°P^" - ^'"^ ^S^i" I ^^^"t to SSank 
job yoS did!"""^ "' *^"' ^°P^ ^"^ ^°^ *^^ excellent 

The saddest event in many years was the passing of our 
very dear friend Harold Cruickshank. . 

Every best wish, as usual . . 

Ca/- -iiCAxl^'/ 

20 Jan 73 

Dear Nick Carr, r^ 

I have 50 many things to thank you for that I hardly 
know where to begin. 

The photocopies o£ the Op 5 covers gave me an acute 
attack o£ nostalgia, although a very pleasant one. I'm particularly 
glad to see the covers of the two Op 5 paperbacks because I never 
saw the books themselves. 

Your excellent and exhaustive article about Crowe gave 
me the odd feeling that I was reading about something that had ,\ 
been written by some other writer, although, of course, I did '^^ 
v;rite these long-forgotten details. I would like to pore over 
these stories myself but, as I think I may have v^iritten you, I *"'"^«5i^-' 
no longer have a single copy of any of the Op 5 magazines. 

Thank you too for the picture of yourself. I'm quite 
sure you generally look more agreeable than this. To answer 
your question #8 now, I'm sorry, but I have no picture of myself 
and no easy way of getting one. Perhaps an opportunity will 
come up later. 

Stan was kind enough to send me several ii^ues of WE, 
including #94, which includes your article about the pulp heroes 

of their ^ay. It's a thoroughgoing and perceptive job my 

congratulations . 

Nov^f for your questions. ' ' ,_ - 

1. The President? Yes, it had to be Roosevelt. 

2. Why didn't Diane Elliot turn up until the third 
novel? I no longer remember, but very possibly it was the result 
of an editorial suggestion to include some woman interest in the 
series . 

3. I was never acquainted with other writers doing 
series pulp stories. 

4. I never saw a single day of military service. I 

was too young for World V'Jar One and too old for WWII and at that 

time, besides, I had a wife and a small son. * 

5. The belt-rapier idea is another I don't recall 

or didn't until Don Hutchinson mentioned it in his article about 
Op 5 in Captain George's Whizz-Bang." 

6. Your question about the footnotes shows that I 
was confused about them, this because I never read any of the 
Op 5 stories after I stopped writing them. (I never read any 
of the Doc Savage or Spider stories either.) I used footnotes 
from the beginning. It v;as my impression that when Emil Tepperman 
took over the writing of the series, he didn't use footnotes. 

That was wrong he did, I know now. But the nature of the foot- 

nptes did chqnge. Mine were all factual based on actual news 

stories. Hutchinson observes that Tepperman's footnotes were 
part o£ the fiction, sometimes quoting nonexistent sources. 

7. J. never met Tepperinan personally and there was 
never any communication between us concerning Op 5. 

I'll be very glad to see the news stories about you, 
and also the Op 5 article you wrote for PULP. 

New references keep cropping up, such as yours to 
PULP, which leave me amazed all over again at the long-persistinj 
interest in those long-ago magazines. It's a shame to think 
we'll never see their like again. 

Best wishes, 


Frederick C. Davis 


10* TktHi^ Km 


m^TKiRi^ Kiii 




23 August 74 

Dear Nick, 

This is to thank you in advance for the autographed copy 
of your book which you say will cosie off the press in a month or 
two. I will certainly read it with great interest, and no 
doubt, thanks to your close analysis, I'll learn something I 
didn't fully realize or even didn't actually know about my own 

One thing in that category is the question of how Jiramy 
Christopher was financed. Of course as a Secret Service agent 
he was paid by the federal government, bug I'm sure their wage 
scale couldn't cover such things as, for example, his very 
expensive apartment, little used, where he maintained his valet 
Crowe, No doubt all this was covered by a special secret fund, 
like the CIA's today, but I don't recall ever mentioning it, much 
less the amount. 

Thank you, but no, don't send me your copy of the 
Purple Invasion novel you mentioned. Since I didn't write it, 
it doesn't belong to ne. One of your collector friends will 
probably welcome it. 

You also ask about my lingering fondness for the series 
of Moon Man stories. As you well know, the basic idea of the 
Operator S series (that he must single-handedly, or almost, save 
the nation from complete destruction regularly every month) was 

not mine it was given to me by Harry Steeger, the publisher, 

and Rogers Terrill, the editor. The Moon Man, however, was 
entirely my own. Danger and dramatic conflict were built into 
the basic situation, which could be and was carried over intact 

from story to story a joy to work with. Also, in the Moon 

Man's disguise, I was working with a completely new gimmick. 
These days one-way glass (often mistakenly called two-way) is 
a commonplace on television police shows, but in those days it 
was totally unknown in this country. It was called Argus glass 
and it was manufactured only in France. I was the first to use 
ig in fiction. 

Thank you again and best of luck, 

180 73 Ave. 

St, Petersburg Beach, 

Fla. 33706 

-", Nov 6, 1983 

c/o Guy Slaughter 

99-1752 Aiea Heights Drive 

Aiea . Oahu . Hawaii 

Hang on, Wooda - this is just to orient us in time and space and establish 
a fire address. I"ll send a proper letter soon. 

Just for now - got your exciting communication of Oct 22... Yes, I saw 
Steeger in New York. He spoke impulsively and kindly about you. Isn"t he 

a nice guy" I had forgotten what a truly gentle — and effective — man 

he is. He was on two phones with about ten people when I barged 
unannounced into his off ice... and getting ready to go to Egypt for a visit. 
And to see the pyramids and ride a camel, he salf. 

Glad the 2 western magazines reached you. This U.S. Mail gets worse the more 
they chagge for it. I'm using United Parcel for anything that has tp get 
anywhere for certain. 

Ret western love pulps, especially westerns - I'd forgotten I did those — " 
western romances for Thrilling Ranch. They must have been rejects from 
Fanny Ellsworth's Ranch Romances, which was my main romance market. Aldo 
did some for Winni PANGELAND ROMANCES, I think their mag was called. Had 

one — I think with Winn — that I*m trying ±0 recall; a villain named Killer 

Prang, and a sweet gal named Mayrose. Had a Hollywood offer for that one, 

but my aGENT BOTCHED IT, AND THE DEAL NEVER WENT THRU... (typewriter did those eap 

Perhaps an amusing sidelight: I did an extra romantic/ftjiisi and in fussing ■— 

AROUND FOR THE proper title, came up with RIDERS OP THE RIMROCK. When the 

story appeared, it was under the title of BELL OF THE 3UNKH0USE . .' .' .' — 

Curious, but a lot of the tough westerns (along with the romantic ones) were 
edited by fresh young gals or sweet little old ladies. Dorothy Hubbard had 
Street and Smith's TOSTERN STORY WEEKLY (my main market of all the pulps) "' '" 
for many years. I remmber she told me once: "You are putting too many girls 
in your stories, Your friend Lloyd Reeve does this and does it well but just . 
because he dos it, dont think that you have to." Dorothy Mcllwraiths was 
another delightful woman who could handle a tough story. She edited SHORT 
STOTIES for many years. She bought a western serial of mine: SOUTH TO SONORA. 
When it came out afterwards as a book I dedicated it to her. Or maybe it 
was another serial BARB WIRE (Wooda, let me send you a few pages of historica 
background on that one. It might make an intetesting magazine piece somewhere 

Okay, more real soon A pulp writing friend had an interesting experience with 
Daisy Bacon, editor of S and S LOVE STORY. I'll check details on tat and 
end you. Real soon. Promise..,.. 

//bye now.\\Best to^you both. 

sept. ;g, 197S 

Dear Nick — briefly, on account we're on a tear to get this 

big old falling-down house closed tight enuf, 
hopeilully to keep the kids and the weather out of it till we 
can get back again next summer. Good to hear from you again. 
Apparently I dont have any issues of Western Story Weekly here 
with the Ghinise cowboys featured, but I did run across the 
manuscript for #2 which I'll enclose, along with a couple 
pafees notes for Chinese cowboy #3. P-j^ease guard closely, Nick, and 
send them back to me when you're finished. But wait till I give 
you another address. I think we may go to Hawaii for a while 
this winter. Looks like we may have a house-sitting opportunity. 
one time tell me alittle more about what you collect, what you have 
and what you may be looking for . 

Well, thank you for kind words about anything I may have done to 
help the Pulpcon along, but my gratitude goes out to all of you 
for the friendly welcome and inclusion into your world. As I 
guess I've said before. It was a startling eye-opener to me. I 
had never heard of a pulpcon or even knew that people collectid 
the old magazines, I thot the pulp world was gone gone gone - and 
forgotten. So glad to find out how wrong I was. 

Did you get your Pulpcon article into the Canadian magazine? 
I iong time ago I sold a few stories to a Canadian magazine- 
Mc-i^eans. . . and I seem to remember one to Chatelaine, Some reprints 
to Toronto Star Weekly. But thats the Canadian size of it. 

So it wasn'yt you who bought the posterboard advertisement for 
a story I had in Western Story Weekly? Maybe it was Nil^^s Hardin 
I'll ask hlra. I didnt take it with intention of sellirg. Just thot 
it might have some mild visual interest to somebody. I guess it 

(At the very beginning, I started out soecializlng in 
Canadian Mounted P lice stories: Ace High, West, Top 
Notch, Western Sto?y Weekly,., Then shiftsdto westerns 
when interest seemed to flag on the Mounted police scene.) 

Nick, all the best to you, end let's keep in touch. Thank 
you again, my good new friend, for everything.... 




August 14th. 1976 

Your letter of August 12, arrived just as I had settled down to 
my now-and-than stint of working out my lifelong autobiography. I have 
turned 80 (last December) and have given up banging out W.V/.l books for 
a sheaf of publishers, bere and abroad. I'm not quite sure whether I am 
enjoying it or not, but a minute before your letter came I received a phon( 
call from a N.Y. publisher asking for an idea of starting up the old 
"Yammering Guns" stuff. My God I 

I hope ycu will forgive me if I explain that I began writing for 
the early pulps about 1927-or-28 when War Birds took ray first story , Urchin 
of She Skies . I was then a sports writer-cartoonist on an Elizabeth, l^J .J . 
newsnaper. I must explain too that I was probably the only guy in the air. 
pulp racket who bed flown in action on the Western 3ront. One or two tried 
to give the impression that they had, but could never quite put it over. 

I developed Buzz Benson in Sky Birds - a newspaper man who flew 
and solved all the mysteries the police were unable to erase. I believe 
Buzz paif: off for eight years. In the meantime I had also taken up V/iDg:a _ 
Acqs and Airplane Stories . I developed The Gasket Crew - a wild Han^ley 
Page bomber gang that also ran f-^r years and was taken up by an English 
magazine and renamed the The Coffin Grew . I don't remember how long that 
mob ran wild. Then there was the Tod Bancroft and -Larry 


ran wild. Tften t^nere was tJine I'ocl i^ancroiic ana -barry i^eaooeauer team :^ 

that carried out espionage work against the 'Japs ip the Pacific . I also 
did two rir three of the Bill Barnes stories for Street and Smith under a 

house name. I don't remember which. Several English air pulps took me over 

and on one occasion I wrote the whole mag under a chain of nom de plumes 

Once I wound up In a Chinese magazine and several times in Norwegian rag 
to be paid off in ski sweaters. . _. ..^s - .,:•-■, 



°^» ^ forgot the fam-us Kerry Keerfand his Irish mechanic-man of 
phases. I aeveloped Keen out of an idea I had for a modern type of 
amphibian plane. It had folding wings, retractable floats and wheels., 
it could be landed on long island Sound, run up to 
on the prop. Then the wings folded and the mvstery 
secret hangar. In the meantime the New York Police 
to solve the mystery 

About girls:- I once tried to 
I think I had noted a British writer's 
BUT. the issue of the magazine was hardly out on 
letters began uo comr in: "Get that broad out of 
None of my readers wanted any part of her,, and I 
with female characters since. 

However, the Kerry Keen amphibian plane 

^o . . 4 
a secluded run'way 
ship slid into a 
were still trying 

give Keen a seductive secretary. 

success with such a contrivance (?) 
the stands before the 
the Kerry Keen stories!" 
have never been fortunate 


mofBel plane features and offered to' the model makers 

been put into several 
of America. PipIPip! 

Dutting out Flying; Aces in the 8% XIVA format which required a great ^1 
more production work with cuts, illustrations modsl plans and so forth. I 
used to rough-sketch out the designs for the covers, and C.B.Hayshark' was 
here at the house only the other dayi I also wrote most of the true feature 
;,;tuj; in une magazines. How I turned out the amount of stuff I did, I 11 _ 
never know, but I sure learned how to write. _ _ 

I stayed with the pulps until 1959. With the outbreak of ,v.v,.ii---' 
I did a few stories about the Battle of Britain etc., and then left the 
pulps for good. I still have a dozen or so of the 1956 editions. I had a 
lot more but sold most of them a couple of years ago to a dealer for about 
S'3.00 a copy. I needed the space for the books I was writing (Forty since 
19S"©) I volunteered for the fi.A.F. in 19^0 but heard nothimin reply. How 
so~n they forget. I tried up \n ^anada for the R. 0. A. F.^ and'- actually xass? a 
a physical to^becoms air crew on a bomber. Then they bad an idea of 
making me a Squadron Leader to organize an Air Gunnery school, and I vjas 
on my way out to order a uniform when some kid in the office burst out 
with "Hey, aint you the Arch Whitehocse, who has been writing all those 
air stories in the Saturday Evening Post?" (I had - had sold seven in a 
row to the Post) When my escort officer realized ttiis, he said how silly 
for me to ta'-c a commission, when I could be doing for the Hv^.-xF what 1 had 
been doing for the x?AF! So I wound up a combat correspondent and^a^few 
d^ays later was flyin.^; out of Halifax and. Gander aboard an old p.B.^. v^ 
chasine Jerry submarinesbn the Horth Atlantic. My stuff was being filtered 
into Kiclean^ l-'asazinG, header's Digest and Coronet. I was later to wriue 
a book: Subs and Submariners on the strength of that experience ~ and a 
North Atlantic tour aboard the U3S Skip.jack , an atomic submarine. 

Next, the Sanadians wanted me _to go out to Prince Rupert to covei 
the HOAF's work'^out there watching for Jap raiders, but I was switched _ 
off at the last minute by a te'egram from the i^'.S.war '.vriter s Board which 
sugessted I go to Britain with the 8th. Air I'orce. I went and had a ball 
^til the Ncrm&ndv Invasion .When we sot to Paris I left the war m cnarge 

of General Eisenhower . . . and returned home to -^o a few lectures to raise 
money foj: the- Hsd Cross. So you -see my pulp Writing oer^iod lasted from 
.1,927 until about 19^0. After that I .was hlttlng-the. ""slicks" having .learr^ 
nary),. tr 3(3 ^.io the pulps - and how! ■.■., ■ ;. 

, '^^'^_;Cn my return from Europe I wa _■ picked up by M,.(J.M. to write; a "^ 
movie for Elizabeth Taylor. They gave me a book titled- Now That April's 
'-'■'here . all about uwo little English ;kids who had., been sent over from the 
London blitz to live with a ^iafvard profs ss-or g ferally outside Bostoft. 
I had never as.en a movie , scenario, but in one try^I gave them one that 
satisfied sveryone in Metro - except Elizabeth and ber Mother. They wanted 
no more little gixl roles. 3o my contract was raised to $750 a week and 
.1 wrote a swell horse-opera story for her, but .by this time -she wanted' 
nothiing mors, to dp with -horses. With that they out me on. writing a , new 
Andy Hardy story for you-know-who and I dl^ an. :-putlin:e after having tS view 
15 Andy Hardy films in the basement , for. . I yliad qo idea who Andy Hardy was; 
My outline was turned over to two guys who had written all the 
others, and I was given a 7-year contract. I sat round fr-r a , time ;ancd.; -■- 
then realized I was getting nowhere ;^ no, -more ray name on the fro.nt covers 
of magazines. Just a lot of dough for being unhappy, so I tore up the, :.^, 
coatract and. came .back easfci^i' »'< ?•. riaad '£oand-v--out -thafevsometaing eaii6^.:.T->:^^rr^i»« 
TeleyisiOD had set in and nobody was reading magazines any mors. Thirty- 
eight of my earlier outlets, including Blue Book, Argosy, ejc folded up 
The Post and Colliers, were to go and be .followed by Liberty which- had done 
a six-part serial oh my adventures in v/.lv.I. Thank God, we had sav.ed most 
of what I had ^earned out in Hollywood QV:6,r -afeaut -.tiW;.© yearst-^oer*! 

Eroffi this I de.Bcended to ray lowest'' lev6-t.---X;-;becam6 ' a "public 
relations writer for a counle of airlines. I dil3_'a lot of air trfev'^'l. and 
turned out a lot of Junk foi:* them. My wife took a jjob' with a' press'' '■'''■"■ - ^ — 
clipping concern and for a few months we got by, and tften lightning' strv' 
Doubieday gave me a contract to write a: book about flying in the Eirst vj 
World War. I turned that out almost overnight and it was a great success. 
They kidded me into doing one on the 2nd .World fer.' That went over just as 
well.'In turn , then ,r wrote the 'histories of Armored Warfare, Aircraft 
Carrier Warfare, Amphibious Operations etc. I "did the Skip,iack' trip and 
then took two trips to the Mediterranean with the. Sixth Eleet, and was 
catapulted off and landed back on el6ve,n_ different carriers. .By that time 
I was well over 55, but the U.S.Navy 'fi"girred I'was about 40. 

Eroffi that time on I felt like a real writer-. Se lee ti-ons of my 
short stories filled five volumes. I did a full novel on ray old Gasket 
Grew mob and by the tirae I had reached 80 I had forty hard-cover books 
in print. Sixteen of them were taken for paperbacks, and many of them 
were tsksn by foreign publishers - British , German, Erench and Italian. . .,_ 

Remarkable to relate, German readers respond beautifully to my W.a'.I 
book and my royalties from there are most generous. 

Back to the pulps: I am always amused by the number of people 
who refer to G-8 and his Battle Aces. That magazine was started by George 
Bruce years after Aces, '.Vings,Elying Aces and Sky Birds were first filling 
the news stands. No one seems to remember when all those air pulps were 
put out in the standard pulp-mag size. As I said I was first inuroduced 
to Elylng Aces and Sky Birds in 1927, right after Lindbergh flew the 
Atlantic. I had written a column about him and the flight, and ran it 
in our sports pages. Everyone was fascinated with it and wondered'' how I 
knew so much about flying. No one knew I had been in Erance for more 
than four years! A news-store proprietor in Elizabeth said: "You oug-jt to 
be writing for these magazines, "and shoved a copy of Ely.lng Aces into my ^_^. 
face. I looked at it and replied: "Those rags! t wouldn't be caught dead 
reading one!" But a few days later I sent Urchin of the Skies into Harold 
Hersey and be responded with a check for 9100. My wife gag-^ed : "How long 
has this been going on? That was the beginning of it. Over the next few 
years I was to contribute to:- Elying Aces, Sky Birds, Wings, War Birds, 

P . 1 .0 


Bill Barnes, Ac6Si,Air Stories, Contac 
.StorieSjAction Novels and Under Pire. 
I don'u remember ever writing for G-8 
through the stacks of tear-sheets and 
trie stuff, but, there it is. Damned if 
Now for the blast of them all 
are going up to v<innip6g,M3nitoba to 
Pilots' aod'Cbssrvers.^ All o^r-sxpens 
hotel bills for seven days. I am list 
Jghnnie Johhson, Britain's leading: ac 
famed Legless Ace of .v'.-v'.P, Leut.Gene 
Jimmy Doolittle and one or two others 
airmen will be in attendance. It now 
besfide being credited with sixteen en 

was also top nan in his wing for the 
over the enemy linens - more than 900! 
in 'B'HS '--LANG3T magazine where his 1918 
men who rea'd such publications. 

,."ell, I have tried to fill y 

■daj'^s, -and- I will close by saying that 

althdii'Kh- 1 realize now that I must ha 

■'that pfofession(?).i sure had more fu 

since'. ^ . . . ■ 

I'hanks for your interest. And 
8th.. Grade in ray formal schooling, but 
of ray books- etc. are now on display i 
University. I am also called upon to 
Nteachsrs' colleges and high schools^ 
Imperial War Museum has' asked me for 
of my personal war adventures, which 
to be opened 250 years from now? 

You musj?' be completely bored 
Oheers J 

t,Sky Novels,' Spy otories,Battle ' ' 

(I guess I -itas once a pulp writer. ] 
,but I may have dons. Today,! look 

can't remember ever writing most oi.^ - 

I remember Oof fin Kirk either. 
. On September '8th . ray wife and. ..I" - 
attend the Reunion of Wartime 
©s will be paid, as well as our 
ed as a special guest along with ■■ 
e of W".;/.II, Douglas Bader - the ■ " 
ral 4dolf Galland' of the Euftwaffe-, 
. No less 'than 1,500 ex-wartime 
turns out that Pulp Writer White'nouse 
eray aircraft and a few kite balloons, 
number of operational hours flown 
Tie also wound up a featured character 
physical' astorished f'^e msdicaT";- 

ou in on what I rem6raT:'e¥' of my pulp 

I enjoyed ev^ry minute o'f it, - 
ve been born crazy to have gotten ^into 
h in those day^ ^than in any other 

may I add that I never got past the 
all my notebo.ks , manuscripts, copie s 
n the Kauger Library of Boston 
lecture .Fnglish- classes i:n,a,,f6w 
Is it any wonder', that-^'tbe" British 
(and received) a 90-miaut,6 Cassette 
has been placed in a can of soraethint,.^ 

by now, but you asked for it.!'. ,^_ 


^wa^<iJL ^ 

Arc h V/h itehouse. 

'■,, ?-bA ,;:,'a^ 

-,■ i.-t' 

Ion V. 

. 11 X 

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"^ wl 

...:^.. DESEH 

A Gun-Fanning Story 






: A2 II 


lO M AG A2 INE. -^ 



SO Pat/c Novel I 

100 Stonecroft Circle 
Bristol, TN 37620 
August 16, 2000 

Dear Nick : 

It was good to hear from you after a long absence. I apologize for 
taking so long to respond to your letter. My computer printer 
broke down last week, and I just got it back from the shop. 

Although I didn't know Harry or Shirley Steeger, I certainly knew 
of them and their association with Popular Publications. I'm sorry 
to hear that Shirley has passed on. Her passing destroys another 
bridge to the past glory of the pulps. Soon there won't be anyone 
left with a link to the publishing business of that era. 

My agent when I was writing for the Western magazines was August 
Lenniger. He did a good job for me, but he didn't like for any of 
his clients to develop a personal relationship with the editors 
and publishers to whom he was selling material. I had a few notes 
from Mike Tilden and Harry Wismer, but not from their boss Harry 
Steeger . 

I suspect that pulps for collectors will become more and more 
scarce, with prices continuing to increase. One reason, I think, 
is because some books are lost forever with the death of many 
collectors. The heirs have no interest in the magazines, and don't 
attach any value to them. The magazines are thrown away or boxed 
up and stored in an attic or cellar until they rot. Too bad! 

Before I ramble on any further I want to tell you that I'll be 
happy to sign your magazines. You don't need to include the return 
postage. I'll take care of that. You've been kind enough to send 
me a couple of magazines with my stories in them which I didn't 
have, and I welcome the opportunity to return the favor. 

By the way, I appreciate your thoughtf ulness in declining to give"" 
out my name and address, but it doesn't matter much any more. My 
name and address are listed in the membership roster of the 
WESTERN WRITERS OF AMERICA. The published roster is available to a 
lot of people, so you might as well pass along the information if 
it is of interest to anyone. 

Take good care of yourself and keep in touch. 

Best regards. 


Hascal Giles 


301 EAST 79TH STREET. 11A 


\U^ o^ Li) ^^-o-c9^^^ '^ . 

aJ--^^-^ /A^^ f l~^^Ol r^-^ S^rA^ ■ 

3 n^o^ --L^suM '^Jy^'^ -f<^^^t^<A, 

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A wairsiaae mods/ 

— (To 



Bristol, Tenn. 37620 


May 28, 1987 

Mr. Don Hutchison 
585 Merton Street 
Toronto, ONTARIO M4S 1B4 

like 4c s€e -^k'^s^.Th^ki 



Dear Mr. Hutchison: 

How could I say no? If you fellows want me as an honorary 
member of PULPSTERS, LTD., I accept your invitation with 
gratitude ! 

Through a quirky set of circumstances, my address became 
known to a few pulp collectors — Albert Tonik, Nick Carr, and 
Lester Belcher — and I must say I have been somewhat stunned 
by their attention and kindness. Mr. Carr has extended 
himself in tracking down western magazines which carried my 
stories, and has forwarded them to me — defying my wish to 
remiburse him for their value and his efforts. 

It is gratifying for me to learn that some of my westerns are 
still around, and that there are people who still enjoy them. 

After the pulps faded away, I did one western novel, KANSAS 
TRAIL, which was published by Ballantine Books in both 
paperback and hard cover in the U. S., and was later 
published in both in Great Britain. A paperback edition 
was also published in Norway. After the book, I got so 
wrapped up in the newspaper business, I quit writing fiction 
for 25 years. I took early retirement from my job as 
publisher of the daily newspaper here to go back to writing 
westerns. I finished the final pages of a new novel 
yesterday and sent it off to my agent. It's like making a 
comeback — or starting over — and I don't know what kind of 
luck we'll have with it. 

Thanks for your letter, and please give my regards to your 
associates in Pulpsters, Ltd. 

Best regards. 

Hascal Giles 

CC: Wooda N. (Nick) Carr 



ST A R ®: 












(615) 764-9648 
November 7, 1995 

Dear Wooda : 

Thanks for your letter of Nov. 2. It's always good to hear from 
you, and to know that the pulp collectors are alive and well. 

I'm sure the readers of ECHOES will enjoy your series on 

the MASKED RIDER novels. Unfortunately, I'll probably miss the 

articles. I failed to renew my subscription to ECHOES last year. 

The renewal notice came, I laid it aside, lost it somehow, and 

didn't think of it again for several months. So I just let it 


It's been so long since I wrote the RANGE RIDERS stories I don't 
remember much about them unless I re-read them. I'm pleased that 
you enjoyed DEAD MEN DON'T RIDE. I believe that was the first one 
I did for RANGE RIDERS. The truth is I don't like to read my stuff 
after it's published. I see so many ways I could have done better 
I'm disappointed by the shortcomings. 

I was sorry to hear of Ryerson Johnson's passing. I didn't know 
him, but I knew his reputation, and he had to be an outstanding 
man. Your mention of Lester reminded me that I've neglected him. I 
heard about his illness several months ago, and never did write 
him. I'm going to do that, however, as soon as I finish this 
letter to you. 

My contacts with pulpdom for the past few years have been through 
you, Lester, and Al Tonik. It's been some time since I've heard 
from Al, so I think I'll drop him a note, too. In the meantime, 
take good care of yourself and keep up the good work. 

All the best. 

Hascal Giles 


~7 — / -^ 

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"'Iitrevor Ihe morninj light found h!m, he 

'Touia be pilile«.ly revealed in lii» ttr«ngo 



Dear Nick: ■ '■ '■- '- > ■ ..--jv-"*-*^ ■.: v,- -.- -«-^ - ,.«-.v^t •- 

Sorry to be so long in ansv/ering your letter but I v/as on 
tlie last leg of a nev/ novel on v;liich I had been v/orking for four months. 
I finally finished it and put it in the mail yesterday, then ?f came home 
and collapsed. Actually, I could say I'd been v:riting it for ten years. 
I v/as then doing it for a specific editor v/ho died the week I finished 
it. Some time later, I reread it and never submitted it anyvrhere. About 
five years ago, I decided I still liked the idea so I threv; away the 
original and wrote it for the second time. That I also didn't like, I 
then happened on some new research (the subject ;\ras Vietnam) and taclcled 
mm it with a brand new picture four months ago. This time I liked it and 
liimiiiikHBjaiitm sent it to my regular publisher. It may, hov/ever, blov; up there 
because the editor is afraid of timely subjects and this one is as timely 
as they come, ' •; 

The only issue I ]iave of Double Detective with the Green Lama 
is the one for Feb. 1941. There is a drawing of Magga in the story but it 
is not exactly her real face. That and her real name v;as never revealed and 
even G.L. doesn't knov? either. They x/ouldn't have been revealed no matter 
how long the series lasted, l^lagga also appeared in the Green Lama Comics 
and there was a full paiting of her on the last issue -- but it never got 
beyond color proofs. I have no idea where it is, I think the only chance 
is that Mac Ilaboy might have a copy, I have no idea v;here he is. He miglit 
not part with it even if he does have it, v 

I did know Norville Page and Emile Tepperman but not v/ell 
enough to provide any real information, I do know some rather interesting 
stories about others in the field and will be glad to tell you about them 
as ive go along.. I also know a few stories about "lunsey v;hich I have never 
seen published. Write your questions whenever you feel like it and I will 
get to them as fast as I can, 

I forgot to mention above that there never ivas an explanation 
of her and it was never intended for ^e to be given. 

There is something which mfg^vt interest you. We got a lot 
of letters from readers. T think that part^^of this v/as l^ecause the 
material on the Lamaist version of Bugghism 4vas accurate as far as it 
went. I had a very large library on the subject, idiich also included the 
Pali language, although it is spelled phonetically. I think many of our 
readers who were interested in the subject and came to us with some 
knov/ledge. As a result, many of them believed in Jethro Dumont and in 

Richard Foster, He wanted to meet the Green Lama, but if not him to at 

Pace 2 


least Richard Foster. He bombarded us with letters and finally started 
dropping in at the editorial offices at least once a week. That, also, 
grew tiresome. V/e finally told him that Quentin Reynolds -- then an 
editor at Colliers -- v/as really Richard Foster and knew many of the Green 
Lama's secrets and could even perform some of them. 

Since Quentin Reynolds was a large man, it made the thought of 
him elevating himself in the air or vanishing especially tempting. I'm 
not certain but I think somebody may have tipped Reynolds off about the 
joke so the fan never did get to see him. 

I would like very much to see your Dr. Syn article. Thank 
you for offering it. ■> S "'- ... V ^/. , . s •' "^ 

I have to retype the Jethro Dumont biography and will then have 
it photocopied and send it to you. I have also promised to send Alan a 
copy, too. I have one other thing v/hich raiglit interest you. It also has 
to be copied. It is a list of all the fantasy, which included some S-F, 
published in Blue Book from 1905 through 1944, It was compiled by William 

H, Evans. 

riore anon. 

" '*?*t?fe ' *i:'';''S'^*Jl^k<^-'.'l^;*ii'''5j;;: 







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':J^tiff^ll^^f^f'i^!«im(--.'^-'*i'V>TI'rA^-. Ei<|r4"~s.;-- ^'^y" 








U cntans "«/ in a ruthless bafile for power ■ - - between 

two merei.'ess killers, warj-ing against each other for 

the profits wilich cc/ue from 


■> i-i 

Stay Amy, Joe: 
'the favorite book 
of the Indian peopie* 

Fine De/on'a,jr. m ^• 

'" ^^"''' March 20, 1983 

' ■ ■ ■ ■ ■ ■ - *'' ^ "^ i''"..- '-J. I ■-.'• ■-■■ . .i i:i,\o.! " Vv ^^CJR 

ear Ms. Carr, ■ • 

You asked Mr. Johnson what attracted to many 
to the old pulps, and I suppose the answer I'd give if asked 
is they were so much a part of Americana; or are so much. 
I read a number of English pulp type magazines and they 
seenaed nnore nriature, aimed at a more educated audience. 
Ours were aimed at the ordinary Joe who cam.e home to 
his lonely after a day working in the roundhouse and got 
his economical kicks out of Dime Western rather than the 
radio. And they faded when TV supplied the same nex. with 
leff effort. I was in the business at the time, and having 
a very good thing of it, and I could feel the rock bottom 
of my livelihood sinking beneath my feetg but lucky for me 
I had always written lengthy stuff and i^/was a small move 
to the paperback orignials. Gold Medal in m.y case . Poor 
old Walt Coburn went home and hanged himself. 

Your qs. about illustrations - -on occas ion I received 
requests for specifications, or scenes, from forthcoming 
stories,, ysfflix so illustrations could be made. Those 



illustrators must have lived right in NY. , I never met • 
one of theni. I got the impression thit only 'a' few did-kil'. 
the illustrating :' 'Variety in the pulps was not courted, 's. 
;:lf. you're interested , in that part of magazine history t)«i£. ^^^^ 
people to find are the editors, although t im.e has eozaoxKZ 
axK written its 3 to the careers of most of them? 'a fewK-;:" 

survive, showing up unexpectedly the book publishers, 

an ,, 

a comparison of Ake old Writer's Market wijsL a current 

LMP might, give some Inf orm ation, but^it wwildbe a tiresone 


Professor/ 1 ^f^CL 


vi >- r. 
A4<». ''A 



^Jft ^# Aft Sv^i9 ftA%^ ^ 




CREEK LOCKS ROAD • EDDYVILLE.N.Y. 12426 • PHONE914. 338- 7296 

July 19, 1972 
Dear Nick: 

Here are some brief answers to your queries re the pulps: 

1) The Shadow paperback covers weee out of character and the 
title was badly placed. Running the early sfories in progression may 
Have been a mistake. Better to have picked some representing high spots 
of The Shadow's aareer. Also, using my name with Maxwell Grant as an 
"alias" might have roused some interest — as was done with the Jiard-cover__^ 
trilogy published by Grosset & Diinlap» 

2) Don't know about Curtis Steele. Will check with my old dditor, 
John Nanovic, whom I see occasionally. He knew most of them. 

5) My recollections would chiefly include Les Dent, whom I knew 
very well, Frank Gruber, Steve Fisheri|> Larry Donovan, Ted Tinsley, Bocvel 
Page (who did The Spider), Dick Wormser (Hick Carter) and John D'Arcy Champ- 
ion (who did early Phsmtoms) and whom I knew at McFadden's when we were 

both editors there — before we ever wrote pulps. Also Ed Burkholder, who 
wrote pulps under various names and with whom I had an apartment in the 
Village during the late 1940s, when he was doing True Crimes and I was 
breaking into that field while still doing some comics, 

W) The "horror" face was a planted device that could have been 
picked up for later reference. Allard's own face could have been battle- 
scarred & undergoing plastic surgery; or he could have been testing out a 
special nask to study its effect. Like the gitasol and the finger-snap ex- 
plosion, these were tests of reader's interest, 

5) Kent Allard was The Shadcrfs true identity. VerJ early in the 
series, I established the fact that he was simply masquerading as Lament Crai 
ston and that he was a US aviator from WW 1 who had been shot down behind 
enemy lines and worked his way out. His flight to Mexico and return from 
there was based on the famous Fawcett case -- the aviator-explofp*er wfea 
was lost in the Brazilian jungle and was perennially being "found". 

6) I would put Allard's birthdate about 1892, tho« it could ^J 
have been earlier. Actually, I can't recall him ever mentioning it, 

7) Myra Reldon was the logical heroine for The Shadow, as 
she played a somewhat dual role like other agents. Mar go Lane was intro- 
duced to meet the exigencies of the radio program. They liked a "running" 
heroine in both senses of the term. So we tied her in with the pulp stories 

Beverting to #5. I'd been banging out The Shadows for 5 or 6 years 
when S & S began worrying about having an understudy, or trying to intro- 
duce some innovations into the stories without disturbing my continued 
fef forts, so they signed up fed Tinsley to do four stories a year, putting 
me on a diet of twenty, I didn't learn about this until Ted's first 
story appeared in print, aid then S & S assured me that it was only an 
experimental measure — and perhaps precautionary. Also, it seemed evi- 
dent that any imaginary emergency was past. 


I was six months ahead of schecule at the, time, sft there was — — 
no worry about my output, unless for sofip reason I'^quitf entirely , so 
there was no deadline to worry about. Nor v;as I running out of ideas, or 
failing to keep up the pace, as I believe some critics have erroneously 
conjectured. In fact, during the period from March 1932 to March 1933, I 
had turned out 28 stortes instead of only 2^, just to show that such things 
c ou^d be done . 

Anjrway, I went along with the de&l, and used to go over some 
of Ted's plots with him, or with John Nanovic. He kept his stories well 
in character and took quite a while with some of them, which did allow 
chances to test out new ideas in story lines &c,, so it may have worked 
out for the best. I have a list of all the stories, in which I checked 
those that Ted>t wrote. Will send it along some time. 

In March, 19^6, exactly 15 years after The Shadow stories began, 
I was doing 12 a year. (Ted had dropped out when the mag reduced from Zk to 
12) . Nanovic was gone from S & S and the firm was letting the pulps go to 
pot, I figtired they were going to reduce to every other month — 6 a year — 
so I demajdddd a new contract, on a basis of 12, and didn't get it. So I quit 
and went on the road with Blackstone the Magician for that season and part 
of the next, 

S 8e S immediately changed the style of the stories and assigned 
them to Bruce Elliott, who did them until S & S decided to go back to the old 
pre-war format, with Daisy Bacon as editor, with the understanding that I 
would write the sfcoiies on an issue-by-issue basis, following the old patt<»-n^ 
I did one in smaller fhrmat — a San Francisco story — and then the "J^ _^ 
era" begaAjif, with Daisy even arranging for Rozen to do the covers. But a 
year later, S & S decided to throw over all pulps and comics, so that was that 
I see Bruce quite frequently, usually at magicians' get-togethers, and he is 
now a eonfessions editor at MacFadden's, 

When I arranged with Conde-Nast (successors to Street & SMith) 
to revive The Shadows as paper-backs, I did one for Belmont Publications, 
called The Shadow Returns . This w%s under my ovm name and was to be followwd 
by some of the older stories, which were to be picked by myself and the 

editor. But Belmont switched plans and wanted new stories, but at a re- 

print price, which I couldn't afford to meet. They had a contract and 
rather than get involved in a lot of problems, Conde-Nast ^.et them go ahead 
and have somebody else write stories under the pseudonym of Maxwell Grant, 
I received my shaiie on the republication rights; and when the contract ran 
out, I engineered a deal with Grosset for hard-cover and later with Bantam 
for pocket books. So I have no idea as to whom any of the latter-day Max- 
well Grants may be, and I might add parenthetically, I care less. 

Lester Dent did an experimental Shadow called the Golden %^ 
¥aiture at the time I was starting the series. But my stories clicked so 
promptly and I moved ahead with the series so fast, that they decided not 
to use it; and later put Les to work on DoBSk^ager as companion volume to 
The Shadow, Several years later, they dug the Golden Vultitire out of a lot 
of old MSS. and asked me if I would rewritiji^ it, which I did — for better 
than a half-fee, s--^^:. 

It was a good story, but treated The Shadow somewha* neb^ 
ulously, or mysterioso, as I had done in my early stories. So I stayed -v_ 
with the villains much as they were, but doctored the plot and introduced 

^ . ■- .- ■■^'■^K""''%^~ '~-.^--„ "'^ 

-3- - _ :, 

new action and situations to sijit The Shadow in his fully developed char- 
acter. So the story was a hybrid, or to some degree a collaboration. So 
Jtes Deat did not write a published Shadow story , as some people claim. 

My contract called upon me to deliver acceptable Shadow 
stories, so I could have"farmed out" some if I had wanted — but I never 
did, S 8c S had the privilege, however, of assigning them to other writers, 
Les Dent, who came into the pictiire later, when they were eager to get Doc 
Savage under way because of The Shadow's success, had an "exclusive" clause 
in his deal. So he farffled out quite a few to different "ghosts" , I lion't 
know the details, but Kanovic would, because he was the dditor then. 

It wasn't a case of output with Les, for he only did 12 Docs 
a year; but he was doing other pulps under his own name and was also try- 
ing to crack the hard-cover field. Furthermore, Doc Savage was planned 
beforehand, so Les could ^ay out somewhat standardized patterns, making it 
easy for a "ghost" to take over. Whereas, The Shadow was always in a state 
of flux or new development, I used to sweat over the plots, but once form- 
ulated, I enjoyed tlhe writing and seldom encountered an impasse, Les had 
a knack of formulating a rapid plot, but sometimes left loop-holes that 
caused him to be "hung up" in the writing, ^._, 

1*11 have to wind up here; in fact, I've written much more 
than I intended, but it's a pleasure to have someone come to me to learn 
the score before voicing opinions and asking about them later, I fEe- 

iiuently read abiasut the pulps and my relation to them, and wonder how some- ^- 

body could pick up so much misinformation. The worst offender was Quentin 
Reynolds, in T he Fiction factory , who overlooked the fact that for several 
years The Shadow was issuZed twice-a-month and not just monthly. That 
has been messing up the statistics ever since. However, Reyholds was writ- 
ing about S & S, not The Shadow, which was somewhat excusable, 

Steranko did a nice job with his publication, but pulled some 
boo-boos too, He came out to see me once about doing a magic book, but we 
never discussed pulps and comics. Then he came out with his publication — 
I mean he came out to see me, beinging a copy of it, which he gave me, and 
he brought along Bruce Elliot, so we had an old-home week-end. But it wound 
up with Bruce criticising a Stearanko anecdote about Bruce talHSoLng to his 
editor, John Hanovic, The reason was: 

John Nanovic had gone out of S 8c S two years before. That 
was why I thought that The Shadow would be going out next, testing me along 
with him, as happened. So when Bruce came in, there was a promotion man 
named De Grouchy, serving as editor. And the Bruce anecdote concerned De 
Grouchy, not Hanovic, So Steranko was hit by both of us. And he not only 
liked it, he wished he had known beforehand, 

I must close fast or go to another page. Glad you are related 
to John Dickson Carr, I saw him frequently at the MWA (Mystery Writers of 
America) when I was a member — say 20 years ago — and found hiima truly 
kindred spirit, Tou seem to tike my relatives, I like yours. 

Write again, */ 



28 December 72 

Dear Nick, 

Thank you very much for your holiday greetings. I 
had an unusually cheery Christmas this year because my son and 
his family came down from Ohio to spend^ the weekend here, and the 
best I could wish for you is that your Christmas was as happy as 

I have read the Op 5 article written by Don H and you 
and I'm fairly overwhelmed by it. The thoroughness of it, and 
the astuteness of the observations in it, are really amazing. 
I still can't quite grasp the fact that Op 5 has aroused such 
long-lasting interest. 

I'm writing to Stan today and quoting your letter. 
Thank you for suggesting it. Also, I'm looking forws^rd to seeing 
your upcoming article about Crowe. His disappearance could not 
have been my doi-^. It must be that when Emil Tepperraan launched 
his Purple Invasion epic he found Crowe didn't fit into it, so 
he waved his fictioneer's wand and caused Crowe to vanish without 
a trace, never to be seen again. 

I'm always available for any questions you may have 
in mind. My best to you for the coming year and longer. 


"T^rf ^« 

Freder^JiC. Davis 



Park Avenue 

Hunt Club 


Morton <h,</McGarvey" I 

- , in a notfe/eiie. ^ | 




^^3^» JF w ^^^"^r 


1 ^UHdehS 

I Kturlnq Action Yarn 


^^^!s\ rir.1T * Tt>ACH *rOOTSAL^ ^j 


Same address, 
April 8, 1978 

,(ii '- -- ,^010 acxc-f 

■Ay \'_i-_ 

Dear -Wooda: 

Thanks for yoar card and messages... I have been 
sort of under th^vjeather, a dab, of late. 

It is draw/ng nigh unto the date when J- shall 
be .writing Harry Steeger, ioy usual MNHMJ^etter/ commemorating 
^^^ oux first Hook-XJp at his new company-, Jjm|^^930. And that, ^ _ 

my friend, is one hell of a lomg long aasociation :-- 48 years. 
Darned tev^ ^r^r -editor-paOJlisher hook-ups have lasted that ^ 

long, eh? 

We are creeping into our pre-spring season 
v;hen I must drag this arthritic-laden carcass out, to get in 
some garden stuff. The grouftc^, since the snow has gone, at lav*, 
look very neat. It is a. pity to disturb bhem again, vdth 
spring work. * c-# 

No^-j take care and enjoy a good run with your 
book, and . very happy and ruitful convention in July. Give my 
warmest regrads to any old pulpsters who might be at all 
^3^ interested. I just sailed past riy 85th Biiiihday last 

month. And am damned sure, if i felt so Inclined. I could 

do as good a yam today as ^ did fo Harry 48 years ago^ and on 

qnd on and onnnnnnn. .. .^--,5*1-^-- 


My spec* &1 -wurm regards to you. May you and 
3rours prosper in all ways. Gooi-lucii: I 

Sincerely your§, 

iiarold S, Cruicksliank ,..,. 

vi. ; Me-j-jagfffc 

e~ -^s#^r;,. 



I j-*::^ 


: J- OC 



71^ ' 

/' it i//,["l>f /fl^riury 





/ ■ 


THOusou Bi/nns 

O 3 ME YFPl '- 

cfojjcs /HiOiNC suor 

ROrCf 3 HOrr£S 





November 30, 1985 

Wooda N. Carr 

305 South Val Vista Drive #57 

Mesa, Arizona 85204 

Dear Wooda: 

Thank you for including me in the roster of the old bloody pulpateers , 
There are so few of us left. It's interesting to discover somebody 
remembers us and to realize there are so many modern publications 
concerned with the pulps. 

Alan did send us the convention reports. We see him quite often. 
In fact, we had dinner with him and his current girl friend 
recently. He is very devoted to the pulps. Ke has every Black 
Bat ever written. I did all but one. and I created the character. 

I don't know if you are familiar with the history of that series 
and its final outcome, but it was lifted by a very large German 
publishing outfit and I understand they did nine hundred issues 
of stories based on the original ideas. I had our British and 
our German agents look into it, but there was nothing we could do. 
VJe never owned the rights anj^way. If we asked for these rights, 
the publishers promptly shriveled up in outrage and dismay. 

As for file copies, I don't know where we'd put them. Dorothy 
and I had two hundred and thirty--or maybe fifty--six books 
published and the garage is crammed with file copies, royalty 
reports, contracts. I do appreciate your offer never-the-less. 

\«Jhen we left the pulps, -we went into radio (we did the Nick Carter 
series on Mutual Broadcasting System.) We also went into live TV 
at its onset. Later, we sold original and published stories to 
some of the best filmed shows of twenty years ago. But TV is not 
for a writer. It's tchnical work mostly, based on someone else's "~ ^ 
creations. All in all, we did pulps, confessions, true detective 
stories, technical magazines, radio, live TV, filmed TV, comic 
strips when they first materialized, and finally, books. 

We began pocketbooks in the days when they sold for a quarter. 
The latest of ours sold for $3.95. We have sold to just about 
every foreign market in the world, including Japanese and 
Croatia. We even did a soap opera for the Canadian Broadcasting 
System. Our files are now in the repository at Bowling Green 
University and their promotion of all their writer repositories 
lists us as the most prolific pair. 

Enough of this self promoting history. Write soon. We'll be 
happy to hear from you. 





October 24, 1987 

Dear Wooda: 

Thank you for keeping us abreast of Pulpcon doings. They 
are, of course, most interesting and nostalgic and it's 
wonderful for you people to keep that part of the past alive. 

Joe Lewendowski and Albert Tonik dropped by a few weeks 
ago. We always enjoy their visits. Albert surely keeps ,„- ■ 
moving around. How I wish I could. X^Jhile they were here, we 
managed to. 

I had them meet Al Grossman. Funny thing about Alan, he 
had been trying to find me for years and we live about ten 
miles apart. He's a great fella and a very good teacher with 
only one fault. He enjoys--excessively, I'd say--the comic 
strip Garfield which I detest. But I suppose he can be 
forgiven inasmuch as he owns every Black Bat I ever \«:ote. 
Which £s more than I can say. Dorothy and I must have had 
seven or eight hundred pulps as file copies, but they, and 
all our radio and live TV scripts were destroyed. We don't 
even have any copies of all the filmed TV we did and I really 
don't knoxv what happened to them. 

However, we do have file copies of all the 236 pocketbooks 
we wrote. Whether they're worth anything, I'm not sure. 

Some elderly writers say they still produce and allege 
they can't quit, but they'd have to drag me screaming and kicking 
to the typewriter. Though now and then, I get an idea or plot 
and I'm tempted--for a few minutes. That's the way it goes. 

Dorothy and I are very pleased re 37-our interest and the way 
you keep-~foi- U3--the old past alive. 


l/J^'^ — > 


The Lord is my Shepherd: I shall not want. 

He maketh me to lie down in green pastures: 
He leadeth me beside the still waters. 

He restoreth my soul: He leadeth me in the 
paths of righteousness for His name 's sake. 

Yea, though I walk through the valley of the 
shadow of death, I will fear no evil: for Thou 
art with me: Thy rod and Thy staff they comfort 

Thou preparest a table before me in the 
presence of mine enemies: Thou anointest my 
head with oil: my cup runneth over. 

Surely goodness and mercy shall follow me all 
the days of my life: and I will dwell in the 
house of the Lord forever. 

In Loving Memory of 


June 3, 1905 

New Britain, Connecticut 


July 19, 1995 
Camarillo, California 


July 21, 1995; 1:30 P.M. 

Conejo Mountain Memorial Park 

Camarillo, California 


Conejo Mountain Memorial Park 

and Funeral Home 



10925 126 Street, 

JeidjGiontoa, llberta , -:, 

Canada, T5M 0P4, ' 

Deoember 12, 1975 

Dear Woodat 

Th.&nics for your note, with your new address. 

I don't think there will be any need for me to 
write to Mr. V/ilhite as I haven't a clue as to the names 
he mentioned, or the pen names, other than I vaguely remember 
them war bacJs: on the contents sheets of the old magazines. 
I htive to think twice to remember my writing names v?hich were: 
Harold 1. Gruiokshank. Bert Iraser^ Hal Eraser and a house name 
I got now and then, Captain stanhope. 

Ton certainly made e wise move, this semester, as your 
former home State hasn't had the nicest fall wetther, according 
to the news we get via cable TV. One of my wife's b.:others 
and wife live at SPOKAITS. . I have bean able to kid theni a bit 
as -i- brag that our open fall wet^ther has been just a mite mora 
plev^sant th^n thejfrS. I have o stop that now, though. as winter 
has co.Tie aad yesterday we were smacked with a 15-20 belov? zero 

___ _ Because of the recent long postal strike I haven't '^ 

"been in touch rdth friend Harry Steeger, so don't ^now how far v> 

along he and Al Norton are with their proposed Pulp Magazine 

I now note the date- of your letter, Movember 9, 
I received it on December 11th. It was released by your post 

office on Dec. 3. The postal strike certainly raised the devil 
here in Canada — in the general, over all economy and made 
for a six wetks period of a rather lonely existence. 1 sold a 
story just the day before the strike steirted and &rrfcnged for two 
more', which I batted out during the hiatus. They are now in the 
mail. I am satisfied with my small offerable output... 

Cl do write more than I offer, of course, as it is a form of 
therapv). I feel that being able to sell copy at all right 
on the" eve of my 83rd Birthday :.s gratifying, especially whan 
somewhat handicapped. 

I used to know a great palp story fan at Tucson . 
He was former^-y from Britain, via Canada end was finally in the 
real estate business at Tucson. He wrote often of the magazines 
of the ^arly 1920s, and on when the greatest of all pulp writers 
filled the contents sheets. These included, -.rle Stanley 
G-&rdner, who broke in with me; ^eorge Yielding Elliott; 
James Warner Bellah; .nd a host of other big names. 
Pleasant memories... but many are gone 

I note your mention of -ohe demise of such paper- K_^ 

backs as Spider and Avenger. But, the SHSDOW still KITOV/S. 

I hope that you your good vdfe v. all be very 
haopy in your present sunny clime and that all your endeavors 
in'' the literary world will always bring you joy ^nd satisfaction. 

in Arizona, 

••MESA" 13 en apt name for e to^m or city 
It brings back memories of old western adventures. 

Xlith all best washes for an enjoyable 
Holiday Season for you and yours, 

Sincerely , 

Harold F. Qrulcicslianic 

P,,S; It is strange that we never Jietr of thut once grand 

series, TtlE 7ffIISTLSR. I wonder wti-i.t became of it. It 
siL.::red popularity vjlth the S.liadow for some time. 

TKlS W/IU. *6 h^ -^UicM "be- 
-5S%,JU'»T TO i€je lt= VT, 

r^c»€ YOu*a«<J ds& it/ 



, r 




5019 Ko. Vassault 
TEcoma, Vfn. 98407 
April 1, 1975 


" Up, up and away " 

Dear LiT, Carr: ,<>«. ■., .v. ■ 'I 

Youi' letter was quite interesting and I vjould be glad to accept 
;70ur luncheon invitation - either at the Elks, or at Fanorama City. 

I knoTJ '.'.'here it is, and have a couple of friends living there, r;hom perhaps 
you majr know. Sdgsr and Alice Prescott, fellovj meiabers of mine in the Tacoma 
w'ritcr's Club and the iiashington Poets Association, - ■"". . <.,, 

I do not have ariy other pulp magazines than those te\r which contain some of 
my ox'-Ti stories-fh l/eird^-Tales. Others, ulC-CMOWTS magazine, in pajrticular ere now 

it Ai>kham Kouse in Ijiisconsan, pending publication in a book _of...^hort stories^, .. ^ 

which I have almost f-:iAren up on, as they have had it a couple of years now 
^ATithout doing eir/tfiiing." 

I have hopes that this year or nejcfc, in view of a certain limited success in 
my uriting and publications lately, that this may encourage them to do so , 

I am sure that we will have something to talk about and if I'-ou care to visit 
me at home, by all means call me and I will show you what I do have and perhaps 
some other things which may interest you. .- 'W^ i ;«:■.-■?»:■ 

For exajiiple, the heading on this letter is a reproduction of one of the 
Virgil Finlay dravilngs included in my novel KUTG OF TIS v;CP.LD'S SDC-S, although 
the sub-title is not. 

It originally read; Kictlampa - where the dead sleep. (I thirJc, although that 
may not be the exact wording - don't have it with me, as I am \7ritir-g at my office.) 

However, a young lady I know was discussing life, death and a few other of the 
eternal verities "''ith me some months ago, when I was thinking about getting some 
stationary printed, and I m.entioned a certain verse in one of m.y poem.s, saying I 
would like to Lave it on my tombstone vihen the time came. 

She said; »0h, Sol You should put Up! Up, and away J' On it. That's 7.'hat 
you say, when ''."e get ready to go out somex'v'herel' 

It did seem to fit the picture. [ 

Glad ^'■ou liked the article. I thought it was pretty good, mj^self. I would like 
to see the articles you mention as having been published in local newspapers, _ 

concerning j^our collections. I have never met any one who is so interested in 
the pulps ;s yourself. 

Let m.e knoT/ v/hen would be suitable for ^roxi to have me drop dovm to Lresy 
1-erhaps I can coi-e dov.'n som-e evening after "..'ork. I get off at S .30 P.l.^, 

V»ed. evening '.■.'OUld be a good time, poesibljr aVsat , or Sunday ^'^ ft ernoon« 
" \ * Sincerely E. 7/arner ..urni 







^C^ 4i^. 


^i^ ^f^^C 

V//.&T2J iw<ii.t,'i wi fcia 



''5ee yof# at Rattlesnake Annie's!" 

"To Wooda... Happy Trails always... R.C. Harris' 








and BUa JONES Stories 

Vie've reeched the end of our pulp persuit dealing with Covers, Letters 

end GhErtcters from our ptst. I hope j'ou ve enjoyed this journey. My thanks 
ffiu?t go to ertist Robert Kerris for sending the photographs end to Paul 
Beoton for hir Tocimy fiockford sketches from Wild West ivee.<;ly megf.zine. 

There f're a fe^ books deeling vfith the pulps I highly recomniend the re&der 
seek out et their loosl librery or book store? 

The Pulp Jungle by Frenk Gruber. 
The Spider by Robert Sempson. The Night Kester by Sercpson. The Shudder Pulps 
by Robert Kenneth Jones. Oheep Thrills by Ron Goulert. The Great Pulp Heroes 
by Don Hutchison. 

If ty chrnce the reader en looete the Aup;ust 2005 issue of Smithsonien 
Megszine, he or she will find references to various Ertists, including the 
gro;8t ..filter K. Beuirhofer, Rbbert Karris, Kormfn Saunders end others. 


And so ends Volume One... I was so thrilled with this book that I asked Nick for 
another volume, if he had any more material, of course... 

Well, obviously he did, because soon after, I received another package in the 
mail with even more great stuff... and so Volume Two was born... 

Very few people have seen this new addition to the "Scrapbook"... Only a 
couple of individuals received Xerox copies at the 2006 PulpCon. I wasn't happy 
with the way it turned out, and told Nick that I would be compiling both volumes into 
one book, with better printing and binding, in order to make this collection of 
correspondence a true National Treasure... 

... This book also marks Nick's retirement from writing, and although I'm sorry 
to see him put down his pen, he deserves a little time off... The pulps have been a 
major part of his entire life, and now he can relax and read them for the sheer 
enjoyment of it, rather than as a part of research for a new article, essay, or story... 

I'm sure our paths will cross at future Pulp Conventions, and we stay in touch 
by letter or phone... so, Nick, I thank you for all you've done for Pulp History, 
Fandom, and Friends... 

Ron Hanna 

Winchester, VA 






.Hciion Stories of Every Varietij 



fii< l\)c>e'4.^ C^yx- a>i+^ \a£iA ytre^^rriSi ^ 





,ci:< A ,^ 















NicJ^ C&joi.. 






Robert G. Harris 

Pulps were a learning experience for some beginner artists and one way to get into the illustration field. 
It was a stepping-stone in the method of making pictures, preparing the way for handling deadlines and 
meeting the requirements of other magazine illustrations. 

Some artists made a fine career out of painting pulp covers. The popularity of the magazines was an 
incentive to continue to produce adventurous illustrations. 

For me, my goal was to illustrate for other magazines. From the beginning 1 had a yen to be seen in the 
larger format magazines, and by working the pulps, that was a lead-in for me to obtain these other goals. I 
am in debt to the pulps in educating me to explore other avenues in making pictures. 

Every artist has his own personal way of solving how he/she goes about putting a picture together. 

Often a simple statement can be the most difficult to solve and explain in a picture. However, 
simplifymg is most always the answer. Don't destroy the picture with too much going on. Too many 
distractions, weakens its punch. 

Color is one of the most important elements an artist has in his/her toolkit. Red pigment is almost 
mandatory. It's a definite eye catcher, a powerful tool. The use of raw color in any hue of the color wheel is 
fare game and most popular in pulp cover art. It makes a big payoff in selling the magazine on the 
newsstand. ,^ 

"Mr. James, the Art Director for Street and Smith, gave me a short synopsis of the story situation, 
that he would like to have on the cover. This gave me enough detail and information to build an 
illustration suitable for the cover design. 

1 talked the situation over with James as to how I would present the picture. Rough sketches 
were made during the conversation, -and the solution was solved. I didn't need to read the whole 

For this particular Doc Savage cover, my wife, Marjorie, posed with Steve Pendar, (a favorite 
model for Doc Savage and Pete Rice stories, and often for other characters in other publications.) 

I had a week to punch this out - sometimes it would take a little longer, if more research was 
needed. Mr. James depended on me to know composition and color to bring about the desired 
effect. I think he was always pleased. He loved being a part of the action. 

Mr. James was very particular about the Pete Rice Western and Doc Savage pulp magazines. 
There was never much discussion on the other pulp illustrations, like Wild West Weekly covers. 
He always gave me a lot of freedom for creativity." 


'•I-fEfiE is Volumn TS$ of my magazine scrapbook with more covers and letters 
from various author's and artist's whose work graced the pages of those 
wonderful pulijs. Such were the magazines that often sent many a mother on 
a search and destroy mission. 

Can you imagine what would happened if he or she had caught h^y- son 
looking at a copy of Spicy Western? 

This is m.y final glimpse into the pulp world I loved, a tribute if you will. 
The moment for me has arrived to just sit back in mj' eas-" chair and re-read 
those issues in my library of Operator 5, G-8 and Hie Battle Aces, The Spider, 
The Shadow, The Phantom Detective, Texas Hangers — just to list a few for 
the sheer enjoyment they bring, 

I Have been asked what was the greatest honor given to me over the years 
relative to xhe pulps. There cire two: The first was in receiving the LAMONT 
AWARD at Jlilpcon Seven, which now hangs on my study room wall. 

The second was joining witH author John Dlnan in which his great book "The 
Pulp Western," aM my own book, "The Western Puip Hero were given the honor 
of having a copy of each placed in the Oklahoma Cowboy Hall of Fame in Oklahoma 

I know that whoever takes over the tast of what many of us old timers began 
will have a great time ahead. It isn't easy work believe me. I wish him or her 
all the luck*. 








^^^^^^^^^^^m^Kj* ' ^.^iB^HIi^Bw ' 

STEVE PEMDER: The model Harris 
"used for Pete Hice and Doc Savage 


:?^fR,rfinirt,«Hrfim>iur0n; 1979 

Sketch of jclter Jcjinhofer 
by Frf nklyn Htmilton 

This is from a Doc btv-ge cover §ketchci by 
Frrnclyn Heffiilton froin one by Robert 
G, Harris. 

714IS /5 F^M ^ txc C4> ve?^ ^y ^osfMr^-f^ 

;^/;!^a;,;;;:.'(::;v;;.;.7:-'5-.VV'AUT.BaumHOFER who furbished the. PHoToS./.V;! 

//TaJtj.^^^^^^^^^^^^ ^ ^/^ ^ 


a,4^e< CC 

Hugh B. Cave 

Fedogan & Bremer, publishers of my DEATH STALKS THE NIGHT, have asked me to 
put together a second such collection of horror-mystery stories. Trouble is, I don't have 
copies of my stories; I lost them all in a fire. If you have any of the following stories and 
would be willing to have them Xeroxed at my expense, will you please let me know? This 
is a long list and, of course, I don't expect ANYONE to have more than one or two of 
these stories. I'm just hoping to round up enough for a book. 


Enslaved to Satan. 2-35 
Satan's Sepulcher. 4-35 
The Dolls of Doom. 9-35 
Buyer of Souls. 10-35 
The House in Hells' s Forest. 


The Beast of Little Black. 3 -4 1 


They Feed at Midnight. 12-33 

House of Lost Souls. 9-34 

Terror From the Deep. 11-34 

Inn of the Shadow Creatures. 12-34 

Dark Bondage. 1-35 

House of the Restless Dead. 5-35 

Daughters of Dark Desire. 12-35 _ 


By Night They Creep. 2-35 
Mate for a Monster. 3-35 
Brides for the Dead. 8-35 

Death Stalks the Campus 4-36 



The City of Crawling Death. 7-32 
The Crawling Curse. 6-33 


The Silent Men. 3-36 

(all by Justin Case) 

Dark Night of Doom. 1-36 

Doom Door. 3-36 

Mistress of Vengeance. 6-36 

She From Beyond. 7-36 

The Evil Flame. 8-36 

Cult of the Corpse. 10-36 

Hurricane Woman. 2-37 

Cavern of the Damned. 5-37 

Tomb for the Living. 6-37 

Satan's Altar. 1-38 

Six Were Slain. 2-38 

The House of Deathless Shadows. 4-38 

Death's Fiery Serpents. 5-38 

Zannini's Puppets. 8-38 

Serpent of Satan. 9-38 

Beneath the Vapor Veil. 1-41 

The Monster Fringe. 5-41 

Satan's Slough. 9-42 

Calavan. 12-42 


The Twisted Men. 3-36 
Blood in the House. 6-36 
Everglades Horror. 1-37 
Hells' Darkest Halls. 2-37 
Death Plays Host. 4-37 
Invasion from Inferno. 5-37 
The Infernal Box. 6-37 
Blood for the Wolf Pack. 5-38 
Titans of Torture. 11-38 


Dear Nick - So very good to have yoiir letter* so soon after thi 
fabulous Pulpcon. It opened up a whole bright new 
world to me that I didn't know existed, and you were a big part 
of helping to bring it alive. Yep, the western copper bracelet gets 
a lot of admljjing comment from these downest yankees. . .and thank 
you again. Hope you get yourarticle in at the Canadiai magazine, 
and yes, would enjoy seeing the pictures you took. 

What I am trying to do is find a copy of the Western Story magazine 
that had the story in It that was advertised on the showcard you 
bought from me at the Pulpcon. If I find it I want to send it to you 
as a bonus for your purchase. I have always felt a little "not-righf 
Nick, for taking 5 dollars for that piece of cardboard. I hadnt 
brought it to sell, Just to show to whoever might be interested, as 
a sidelight from the old d^s. Thegr Will Murray said five dollars 
and somebody bought it; I didnt even know who at the time. It was a 
green toned picture wasnt it? What was the date -- or did it say? 
I don't even know what story it advertised/ 

I've checked all my magazines here, and I dont have copies of any of 
the Chineese cowboy stories. They are most certainly, however, among 
my stuff at the Illinois addrsss and i'll cheorh there as soon as I 
get homr. I have alot of my carbon drafts here on those old stories. 
I'll check thru them to see if I have carbon versions of any. 
Actually, I don't think, Nick, that more than two or three were 
ever printed. Tht was along in 19k3 when the western pulps were 
winding down fast. Western Story Weekly had dropped their base 
rate from two cents to one an d a half... and we were seeing th© writing 
on the wall. I w as moving out to the mystery field. *^thers were 
"going Hollywood" or into ad agencies, or selling automobiles or whate 
The westerns were dis^pearing fast - out of the pulps and into the 
TV tubes. The firet tw titles were The Sho ting Gallery Kid, and 
Sh oting Gd lery Gold. Probably published in the last half of 19^3. 
I'll find em. 

Havent heard from anyone at the Pulpcon except Tom Pisher, who 
kindly send me a c:::py of his cart on illustrated Ratt and the Alley 
Rant - Night of the Wa* hounds. I'll remember what you say about 
possible pulp papre sharpers, and check *ith Will or you before I 
do anything drastic. Actually, more of the magazines Is aved were 
westerns and adventure (Short Stories. .Argosjr, Adventure. Ace Bigh 
etc) and seem not to have become very valuable yet. M^ be they'll 
have their turn. But I do have a lot of mementos of the d^ , 
writers mags Authors League stuff and Vt'ln the Wa* materials, etc. 
And a lot of black and white inside illustrations for westerns, detect 
and love stories. Thank you again for your letter aid your good 
words. I know I have a good new friend. (And thats important for a m 
of my hoary years, when it's easier Jip lose or)©>^ thaiy to gain one...) 
Have a good life... k^„ ^ 

May 1988 

Hi chum - have just retiirned from lunch with Doug Ellis and 

Will Murray, bringing with me a copy of the 2nd issue 
of PULP VAULT in which you gugr's gave me all that beautiful 
attention, Nobody ever treated me so good! You said so many 
nice things it was almost ambarrasingl But plenty appreciated, 
believe me. 

Wooda, where in hell did you get the time to dredge up all that 
detailed information about Siringo? You know moreabout him now 
than I do. It was a monumental job, fella, and I'll always be 
in your debt for that, I keep looking at it, and I marvel. It 
doesnt seem quite real to me; I can hardly remember writing all 
that. It is a beautiful put-together on yotu? part, and makes 
me itch to renew my old intentions of taking some of that material 
and weacving it into a novel, Christ, I wisht the days weren't 
so short. Time moves these days like a meteor passing, 

I iid tell you, didnt I, that I reworked an old western novel 

— what they are calling YOung Adult these days — and have started 

trying to sell it somewhere" Danger Trail to Abilene ? All about 

a trail drive thru dangerous outlaw and in^an cotmtry from 

south Texas to Abilene Kansas in the uncertain days just after the 

civil war when cows were selling in Texas for about five dollars 

a head — but 25 inAbilene — if you could get them there. 

One positive note: sold a children's picture book the other day 
that I wrote 29 years ago, and have sent out 35 times through 
the years. Tender little item called Why is Baby Crying ? She 
just wanted to be picked up and loved, thaf^s all. 

More soon 3§ella, I'll be at the 
above Cambridge address till the 
end of the month, then the old Lubec 
address where I'll prowl around inthe 
'' barn and see if I can unearth that 
"^ uns ung^Sir ing 0^ 


Loopa lean lasso, podner... 
Iyer son Johkpon 


/£ John Fleming Wilson 

/ ^u/zTor 9^ "The Adventures o| 
nt ' Ca^ain Henry Hale .' ' 
"The Man Who Came Back 

Is tde Fanner Doing His Share " 

bu E.T.Mere(iiih. Seeret arg ^/f^culture 

t§he STO^Tof PERSIA 

iy Professor Ogg -FaJJy Illustrated 

f rj'L"^ V fs f ^ ■^.■^ ■^ ' ■'^ 20 



;;, 'MOON OF 

VERONA" ""«■-"«'■■« 

-$k' r ,^ 

«^<^^ i/ir^$JU^ 

X'l . V 

.jt^-y-^n^ — 



XsL^^^, 9^ J^e^ 





-• ^-. ^i*^ 

^:--C:'>-^ ■\: 



'i'-- '-.T-.^ 



^m MJ%9 < - • MAY (^ 


"Granuir. story by Seabury Qmnk,^ 




■'**%afo -^-^^'^'A 


22 Oct 74 

Dear Vick, 

Apologies! I have been very remiss about thanking 
you for sending me the paperback edition of "The Masked Invasion." 
The enclosed carbon of a letter I wrote to Nils Hardin restdrday 
may help to explain the delay. For whatever interest it may have 
for you, I'm also enclosing a carbpn of the list of pulp magazines 
containing stories of mine which he will probably use in whole 
or in part in XENOPFIILE. 

T also owe thanks to Robert Weinberg for the two copies 
of "The Moon Man" he sent me. These stories and the Op 5 stories 
are now in the public domain, which means that anyone who wishes 
to do so may reprint them without a by-your- leave from the author 
and V(?ithout paying him so much as a dime. Of course I'm very 
pleased that these stories I wrote so long ago are still around 
and prized, but I hope I may be pardoned for sounding a small sour 
note because othew people are now making money from them and I'm 

not making a cent. Of course this is entirely legal there 

is nothing the least bit wrong with it and I'm sure other writers 

before me have sounded the same complaint. " 

Your mention that Harry Steeger is "still trying to get 
a meeting time with M Norton" pulled me up short. I took a 
quick lok at the contents page of the current Argosy and found 

that Norton's name is no longer there nor, for that matter, is 

Steegers. I dealt with Al's wife Margaret when I was doing 
hard-cover mysteries for Dodd, Mead, for whom she was an associate 
editor (having before that been an associate editor of The American 
Magazine before Crowell killed that ond along with Collier's and 
The Woman's Home Companion.;' My point here" is that I remember 
these people as of 'way back then, forgetting that they have aged 
Mnd gone through changes like everyone else, including me. 

I'm looking forward to seeing your books about Op 5 
and the other pulp heroes. And don't worry about offending me 
— you haven't and you won't. 

My best. 


There's sipposed to be a super sci-fi convention in a month or so 
somewhere in the east -- Boston? -- isn't tiiere? 

August 1, 1980 

Dear Wooda -- hey nowj and thank you for the 7/ah Lee piece you 
sent me. You were too kind to me, but I do 
appreciate th» atuention. You brought that 
China-boy cowboy toack to me in a realistic way 
I hadn't sensed h.m for years, 

A sidelight on where I got the name Wah Lee, 
There was a Chinese laundry m th that name on 
the window in 3-reenwich Village in New fork City 
when I laved there. Above tne laundry a guy 
named Wally ran a smoke pad. You'd sit on 
cushions and pass tne joints around. He kept 
the grass in a paper bag at the end of a long ipihin 
string that was fastened to the side of the buildir 
far from his window. When he wanted to make a 

sale he'd hock onto the bag with a lon g cr ooked . 

stick. If the law came looking, he was clean. 
No bulk stuff in the apartment; it was ajl in 
the sack hanging outside. Nobody ever had any 
trouble locating Wally 's place. Just look for ik 
tne Chinese laundry that said Wah Lee on the 
window in big letters... 

Oh, yau ran across T-ondola S-old , I will try 
very hard to locate the first story of that series, 
and send you the magazine. I know I have an extr 
copy around somewaere. It appeared in SHORT 
STORIES, Nov lOth issu-j 1931, and I even re-member 
the way it started out because I'm using it in 
the book I'm writing on the period. Starts it, 
"V,hen cow critters chews off a cnunk of cholla 
3actus, they got a mean mouthful to masticate, 
likewise, wnen Blazin' Daylights Jones, da da da da 
..." and we're into our story. 

.ooda, may the Force be with you... and I'll keep 
in toucii. And thanks again for reviving my 
Chinese cowboy..-. 


Rjersorf' Jo'Hnson 



\ ■ 

Popular Publications, Inc^ 


New York 17, N.Y. 

HCNnv OTECocn 

October 18, 1966 

Mr. Lynn A. Hickman 

The Pulp Era Press 

1)13 Ottokee Street" ' 
X^fauseon, Ohio 14356? 

Dear Mr. Hickman; 

Thank you for your note. In response to your request I am 
listing below the magazines which have been published by Popular 
Publications or its subsidiaries, together with the years in which 
they first appeared. • 

I was mildly surprised, in goins through the chart, to 
realize we had in our line, at one time or another, this many 
MAGAZINE form our present package. 










































1936 "^ 















191*2 ROMANCE 






(The above seven titles were acquired from the Frank A. MunseV 
Company at this time.) ^ 



From then through about 19S^, the following were published. 





.hk v/ESTERN 


Hiclonan ^U 


Our big baby is, of course, ARGOSY. In the first twenty-five, 
nationally, in sales and advertising^ and close to a million and a 
represent a separate advertising unit called POPULAi^ FICTICN GROUP. 

The days of the pulps vj-ere both vigorous and good ones. In 
retrospect, I would say that while some of the magazines contributed 
nothing of more than topical reading value, others, particularly 
the detective, sports, westerns, science fiction and fantasy fields 
have had outstanding. stories. And, of course, ADVENTURE published 
THE 39 STEPS, Leonard Mason's famous VJorld War I stories, while 
the old, pre-Popular ARGOSY came up with TARZAff OF THE AFES, THE 
first stories, and a host of other classics. The ARGOSY of the 
later era contributed to the movies, "Dr. Kildare" and "Hop- Along 
Cassiday and to televieon, THE WACKIEST SHIP IN THE ARMY and many 

ARGOSY is a man's magazine, 

Ltten for, and edited, by men. 

It has no taboos except bad taste, no editorial fetishes and no 
top rate for stories if they are good enough. 

I hope this gives you, in capsule form, the information you 
need. If I can be of any ftu-uier help, partj.cularly in being 
able to pin-point certain stories that you have not been able 
to locate, don't fail to call on me. 

Sincerely yours. 

-st^ 48- 






Lester Belcher 


























Aust i n 




Ward H,. 



Bri dl ey 
Gri dl ey 
Gr i d 1 ey 
Sri dley 
Sri dl ey 
Gri dl ey 
Gridl ey 

ClevB Endicatt 
Austin Gridley 

*Death Trails From Bus sard Gap 

Buns At Baguaro Pass .. ^:}i:'hk..'^ 

Treachery At Buzzard Sap ■ -; =*?..--y ;. 

Border Breed "'H; i "-» 

Mad Mavericks • .. ! 

Trail Of Deaid Hombres ■ : -i* 
*F'ete Rice Rides Down Bonny Tabor 

Sep 19 36 Pete Rice Pays With Powder 
Apr 24 37 *Man Trap At Buzzard Gap 

Aug 27 3B The Cougar's Claws ,- .-k "- 

Sep 24 3B Nuggets Of Doom 

Oct 15 3S Gun Law For Hornet 

Nov 12 3B -tf-Sonny Tabor's Sheri-f-f F-'ard :;;/ - 

Dec 24 3B The Robber Of Red Ridge ^ ^""^ !-:'S- 

Jan 21 39 Terror In Sunny Valley 

Feb 25 39 *Buzzards Of The Border 

Mar 1 1 39 Murder In Spook Hole 

Apr 22 39 Dead Rides Lightning Range 

* means that the front cover featured Pete Rice. 

front cover for June 7, 1941 reprinted th=\t from June 6, 1936. 

the cover for July 5, 1941 reprinted that from August 15, 1936« 

Austi n 
Ward M. 
Aust i n 
Austi n 
Austi n 
Austi n 


Gridl ey 
Gridl ey 

Gri dl ey 
Gridl ey 

Interestingly the 
Al so 

The August 15, 1936 cover by R„ 6. Harris is considered to be the best 
cover ever on WILD WEST WEEKLY, I disagree! It is a real good one, 
but all covers by Bob Harris were the best. I can't choose any single 
one. He did some beauties of Circle J, Oklahoma Kid, and Sonny Tabor. 
He did only one painting of Kid Wolf; the first Kid Wolf -Sonny Tabor 
combined story in September 7, 1935. He did not put the R.. C. Harris 
touch in that one. He leaned toward H. W. Scott's style, as Scott had 
done all the Kid Wolf paintings to that point. Harris had done all of 
the Sonny Tabor covers up to that time. Since Street ?< Smith got the 
authors together on a combined story maybe they got the artists 
together as well. ,^- 


'■^<\^-V^ ^'- ;''>!'ii;^' ffetJltJ!^^;^-^ 

-!''■ V— .^J 

STAY AWAY, JOE— All-time best seller in the West 
— now in its third decade, now in its third million. 

Stay Away, Joe Publishers 

Efec. 27, 1982 


Dear Mr, Carr, ■ ■-■- . '^ ,^"> i ■ 

In respose to your qs . concerning Ki-Gor, I -wrote 
but one of those stories; I don't know, bujt I was under the impression 
that Scott Peacock wrote them, and when he quit as associate editor 
at Fiction House, Mr. Malcolm. Reiss, then Ed-Chief wrote asking m.e 
to do them, but after one round (he being dissatisfied \vith what 1 did 
to the characters (trying to imbur them with a few human characters) 
he went elsewhere, I have record of beingpaid, so 1 suppose they 
printed it . Titles were always changed so I don't know what they called 
it. Sorry I can't help more. ((JVfeybe tha naasn was Wilbur S, Peacock)) 
My God, man, this was back in yhe paleolithic. I wrote a couple of million 
words for the pulps, under my name and varous house names. 

Concerning the Pecos Kid stories; I received a request from 
Mr. Mike Tilden, then at Popular Piblications, to do the series, and the 
main thing I recall during the period it was published was that I always 
delayed doing the next one until Mike started to te legraph me ("please, if 
you can't send story now, send resume so illustrations can be made" etc, ) 
and in that way he was less likely to rejectgotte^ copy or ask for a lot of 
alterations. •. , " 

Tepperman's name is vagulyjga familiar, onJLj 


I'i'i'Sfc:;^?;'^; . 

f) _..^,^.y 

L ^O U-y ^- ._, ^t^^U 

U{^l/\ UA , 

Mr. Albert Tonick 

3341 Jeffrey Drive v .. . 

Dresher, PA 19025 * '' 

Dear Albert: 

Yes, it has been a while since I heard from you. Everything is 

fine here. I hung up the old typewriter and retired* a bit over a 

year ago — I had just turned 70 and had written my 70th novel, 

and that seemed like a nice, round number to quit on. People told 

me I couldn't possibly quit but so far I see no symptoms to 

iridicate they could be right. I've got too many other things 

to keep me happily busy — including trying to make a dent in the 

shelves full of books I 120 llected during all those years when I _ _ _ 

was working seven days a week ^and didn't have time to keep up 

with my reading. ;. - - .^ _,- ^ . ^- ., 

My. hobbies are mostly of the sedentary type, but it certainly looks 

as'':^ou get around, following yours. It was interesting to read of 

your encounters with some of ray old friends, like Bill Cox and 

Walker Tompkins and Tommy Thompson. It's quite a while since I've 

seen any of them. What's more, I didn't even know that Peter 

Germano and Dean Owen were no longer around. I only met Germano 

a time or two, but Owen t'd known for 35 years or so. Well, time 

is chopping down a lot of my old friends. After all, when we 

started WWA I was 35 and the foia^gest member (as secretary, I had 

the vital statistics on ev6ryone)\ Now I'm 71, and the rest of 

the generation I knew started givirJtf out some time ago. Of the 

six of us who got together and co-founded Western Writers od America, 

just four of us still survive — Thompson, Nelson Nye, Wayne' Overholser 

and myself. And those^ other three are getting up there. 

Three years ago, on a trip to Arizona, I dropped in on Nelson Nye 
for a visit, in Tucson, and also saw Frank Bonham in Prescott. 
AndTBat was the last T:ime I saw any bf my writer friends. I used 
to go to the WWA conventions, when I was an officer, but the last 
time was in 197 6. There are some very good new novelists in the 
Western field, and I enjoy their work, but I haven't met most of them. 

As to the specific point of your letter, I'm afraid I can't help you 
at all. I never had any direct dealings with editors at Standard — 
everything was handled through my agent, Gus Lenniger. I haven't 
the slightest idea what became of them after the magazines folded. 
weren't you the one who told me you had seen the Lenniger file at 
the University of Oregon in Eugene? Lenniger would have known as 
much as any one person, I imagine, about those series novels, since 
he sold most of them. Tom Curry was one of his clients, from away 
back, and I guess Curry originated some if not all of those characters 
such as Jim Hatfield and the Rio Kid. I met Tom Curry at a WWA 

convention — I think at Sucson In 1968. I wouldn't Kaotfilf he's 

still around or not; I doubt it. -^ . 

So you see, :i| don't think I have anything at all to offer besides - 

what little--^ was able to tell you before. As far as I was concerned, 

Jim Hatfield and the Masked Rider and those other series yarns I 

did for Standard were nothing but hack work, undertaken because 

I needed money and, with the pulps dying right and left, they were 

the only steady business Lenniger could drum up for me. I found 

the Hatfield stories the most difficult because I had never been 

in Texas and it was hard to find StiBJects"^ for plots; 19CA somehow 

those were the assignments I mostly got. The Masked Rider and his 

friend Blue Hawk, and the Rio Kid, w«re pure garbage but at least 

the plots were easy to come by; but Texas I knew nothing about and 

still don't, though in later years I've written a book or two about 

it X's'f'ter considerable!). . ^ - 

Your friend who plans a study i^^pf Western series really has his work 
cut out for him, if he's going into the old pulps. Those magazines 
were full of them, often short-lived. WESTERN STORY MAGAZINE, back 
in the late 1920 's when I tead it, carried quite a few: The R Bar R 
stories of Roland Krebs; Sheriff Oook and Shorty (Ray Humphreys); 
Windy DeLong and Lonesome McQuirk (Robert Ormond Case); Several by 
Frank Richardson Pierce under his own name and his "Seth Ranger" 
pseudonym (Dad Simms; Bud Tuttle; Fl&pjack Meehan and Tubby : Willows, ' 
etc.) And of course, WIID WEST WEEKLY was a real hotbed of series ^-^ 
stories, from the Billy west novelettes of "Cleve Endicott" , to 
walker Tompkins* Tommy Rockford., (I ran a spasmodic series of my 
own for a couple of yfears, in va^lpus Popular publications books, 
about a dumb deputy sheriff named wonty Stevens. Everybody wanted 
to get a series going — anything to give them a presold market for 
some of their stuff,. )and at leqst that much of a feeling of security.) 

Speaking of series, from 1980 until I retired I was under contract 
turning out books for Bantam's "Stagecoach" operation, under the 
hottse" jiame "Hank Mitchum" . Origirjally I was supposed to write them 
all, until I learned Bantam wanted six a year. I knew I couldn't — — 
turn them out that fast, so I agreed with the packager, Lyle Engel, 
that he should hire feome additional people. Altogether I did 8 
of tjie books. The series is still going, but after writing TULSA 
I told them I'd had enough. 

That's when I retired, and I haven't regretted it for a moment. 

It was nice to hear from you, and interesting to read about your 
activities. Sorry I couldn't be any further help. 

V - 

i ■ u Sincerely, 

Dwight Newton 


PS: I wonder if you might be able to clear up something that I've 
been curious about for over 35 years.... Back in laSl, I remember 
Gus Lenniger Informinglfthat the boys at Standard Magazines had decided 
it was about time, with the pulps in such deep trouble, to try and 
upgrade their books and particularly their series novels — see if 
they could be made less juvenile and a little more adult in tone. 
Lenniger suggested, in particular, that I keep my eye out for a 
Jim Hatfield novel entitled LOBO COLONEL, which he said had been 
written by "a new writer" of promise, and had the kind of : 
maturity they were looking for. Lenniger never told me the person's 
name, and I've always been mildly curious as to just who it might 
have been . 

So — do you happen to know who it was wrote LOBO CQLONEL? I 
don't lie awake nights wondering about it, or anything, but it 
would be kind of interesting to know, if you happen to be able to 
tell me. . . . 


TBs Three Mesquiteen 




Jan-uary 27tli 
' 19 4 4 

Mr. Tom Ouriy 

|-ay:L(J't fi 

Dear Tom: 

The outline for your new Bio Kid Wsatern story sounds fairly good. Ifeturally the 
g^ , iB going to need a lot uore meat than you have in it at the present time, and maybe 
some of the suggestions from the hoys Tvill help to get you steered in the right direction 
on this. 

ilrst of all, I think we can eliminate the cannibal business. It doesn't con- 
tribute anjrthing in particular to this story. Secondly, since this is a Eio Kid story, 
your important job is to see that the Sio Kid in his movements around, does not more or 
less abandon the ivagon train to its fate. He does have a responsibility to General Dodge, 
but at the same time, his time is more or less his own. 

•v. Once he becomes attached to the vjagon train, he should le^-^ve it only for a very 

brief time, and be returning to it when the blizzard closes in. You probably had something 
like this in mind. In your outline, too, It isn't quite clear Just how the horses are 
"driven off into the hills" in a blind canyon. Speaking of horses, viiat is supposed to be 
happening to Sabre, the Eio Kid's horse, whi-ch would make it necessary for him to borrow 
a horse to make his escape to Bill Hickman? 

I think, too, that Stone and his crew should be better disguised while raiding 
the wagon train, so everyone from the Hio Kid down doesn't recognize Mm immediately. 
Otherwise the reader is going to wonder why the Bio Kid doesn't do something about it, 
after learning that Stone is a renegade. 

iegprding the question of the lapse of time from i^ll to Spring, I think this will 
work out all right. We're not going to drag it out. It can be covered in a simple 
chapter- to- chapter transition. 

Hanting the gold as a reason for keeping the emigrants in the canyon is all right, 
but when this idea y^s discussed, we also mentioned the fact that the wagon train vas lost, 
and with a vrinter coming on. This would be another reason for their being in the canyon, 
and trj'ing to do something about improving their own situation. They might find the semi- 
precious stones in a cave where they were seeking shelter, etc. 

T?atch these elements, and I think you'll come out all right. Best of luck. 

Sincerely yours. 

lia/miz Editorial Director 




May 17th 
19 4 4 

Tow Ourry 

Dear fom: 

ahe main theme In your new Bio K^d outline is okay, and COLOhL&IK) GOLD can 
he made into a good, fast-moving story, if you go ahout it properly. Ihe chief 
weakness in the outline at the present time is due to the fact that the Eio Eld 
doesn't appear to have enougli real isork to do to make him the dominant figure in 
the Btory.' Ihis has happened hefore in our outlines, and you've always teen ahle 
to inject sub-plot and dramatic personalized sequences to take up the slack. I hope 
you're goii^ to be able to do that this time, 

Mach of the Imoortance of the story to the reader is going to be in the usual 
careful handling of the historical characters, and in this particolar yarn, I'm 
expecting you to give us some real color on the Srand Canyon, Southern Utah and 
northern lrizona« 

In building t?) the action of COLOHiK) GOIE, it's going to be necessary for 
you to plant other outlaw bands using the canyon area as hideouts, either through 
the Bio Kid's knowledge. Brill's bragging, or some other logical and reasonable 

■Ihe POwbII theme in this story is going to be on the weak side, unless we can 
cook up a way to h^ve the Bio Eld accompany Powell for at least a small portion of 
the trip. QMS would give you an opportunity to introduce some novel historical angles, 
and the Bio Kid's supply role might also be enhanced, because Potrell mi^t be in a 
better position to determine what he needs, after he's gone through the first leg of 
his journeyr You may have to tanper with history a bit, but don't let that bother you. 

With these thoughts in mind, I think the Idea can be left in your hands. 
Best of luck on it. 


You'll note I'm Jibing one of the titles you suggested ~ instead of DESSHT, 
VAliPIfiE. However, it seems to me that not much of the action is in C3olorado — or do 
you mean Colorado Blver. Title must fit background of story. 


i r er~ ^-Ic! Sincerely yours , 

'Co )ov :^i- f^^^' ^,f' 





Ijjj/njij ■ • Editorial Director 

Tom Curry, 

The Rio Kid 
Celestlno Mireles 


V/yatt Earp 
Bat Masterson 
Uadam Mustache 
Calamity Jane 
Gen. Alfred B. Terry 


Setting is Dakota, and Deadwood 
after Government legalized entry 
of whites — 1875 or after. 

~ iz. i <^^ ^^- '^^ 
^ ^ "^ 


"fieneral" A sa Carson (a cashiered Army officer, who 
held lieutenant's rank in Civil War, has assumed false military 
title. At crucial moment in battle, Carson deserted his men.; 
Large, rawboned, he is an impressive speaker and can whip up 
a crowd. 

Muley Jake Muller » outlaw chief, rode for Quantrill 
during the War. fleavy body, round head, sparse brown hair and 
untidy mustache. 

Wolsbe (Walsh, from fathens name) is sullen, dangerous 
Sioux and Irish breed. 

Wolfers and others as required. 

Doimaagitanm Gustave . Subhero. about 22, light hair and 
blue eyes, reddish cheeks, Scandninavian descent but Americanized. 
Be Is mate on a Missour/ River steamboat, the Dakota. Be was too 
young for the Civil War, but has Viking blood in him, and ran off 
to sea at 16, then came back and worked river. 

Taze Tllton (TT brand) a Texan, erstwhile Confederate 
officer, who left Texas to escape Carpetbagger government and 
disfranbhisement of Southern offlcers—Tl'iton was a colonel in 
flood's SKtit Brigade. Big, dark Komplexion, thick, curling hair. 
In middle 'forties. 

about 18. 

Ljy.betb Til ton , daughter, auburn hair and gray eyes. 

Mrs. Sarah Tfclton, the mother, a pioneer woman. 
Three sons, Tom, Dick & Harry, 15, 17, 20. 

Capt. John Allen of the sMa^ Dakota. Major Frank 
flanna. Army paymaster. 

Woodcutters, and men of Dead»[ood as required. 



Tom Curry 



The Rio ^±d \ 

Celestlno Mlreles^ 


Gen. B.fl. Grlerson 
Al Sieber 

Rio Kid Western 



Fie tonal: 

^aylan Coonev. arcbvillain. Large and stoutish, Uazy 
manner, veiled dark eyes against lobsterred complexion. Receding 
hairline on large head. Drinks tequila in gulps, smokes Me±Lcan 
cheroots. Gently coughs when excited or disturbed. Be is a store- 
keeper and saloon owner at Cooneyville, named for him, a raw 
robbers' roost settlement in southeast Arizona, headquarters for 
rustlers, smugglers and hijackers of Mexican smugglers coming up 
the line. Trading post, * . Bandits have elected him "sheriff and 
he wears star stolen - fi i -lii-Higte t from a victim. 

nRi ynmftr" Dovle. ah elegantly -clad gunman, two-gun man, 
dangerous outlaw, rustler and killer. Long mustaebes, goatee, 
white teeth show in cold grin. Light hair and pale eyes. Range rig. 

Pedro Alvarez , a Mex, short, broad, voluble. He has 
hundreds of relations, it seems, cousins, brothers, uncles etc. 
Be is an excellen*; spy for Cooney, and works for a tlmB at the 
Double J, Johnny Johnson's ranch a few miles out of Cooneyville. 
(Tucson is nearest real settlement though there is a small Army 
post, a bastion guarding the southern trail to Cal., about -fit-fcy 
miles southward of the JJ, 

Others as required. 

Johnny Johnson, an entbustiastic rancher who has dared 
bring bis family to settxe in the dangerous land of the Apaches, 
It is dry, water scarce, but be has staked out his land along a 
small creek and runs ditches from it for irrigation and watering 
co?/s branded "J J." (Alvarez and his "cousins and brothers" did 
a lot of the shovel work.) Johnston is 4.O, a Union vet. who bad 
married before the War, then gone into service and become a major 
of volvmteers. Restless after War, he mo-se d to v;ilds. He is medium 
sized, brown-haired, lively eyes, big mouth. . . Wife, Flora, pretty 
blonde of 38, their daughter Pegg y, small, lovely, golden hair and 
amber eyes etc. Couple of sons, teen-agers, serve as bands, and 
there are three cowboys as well. 

Johnny's cousin, fid Toll , comes and settles nearby. . . 

Dan "Wee" Gates, is subhero. A sadlooking young giant. 
He was in the War, is now around 25. Wears buckskin. Stetson, and 
works as a scout under Al Sieber who in turn is scouting for Gen, 
Grierson, watching the Apaches who make periddical raids. Black 
hair, bronzed, smooth 7oung face, powerful but a gentle man except 
in a scrapr^ 



, r,^*-^--'^^ ^' 

Capt. Robert Pryor, the Rio Kid 

Saber, his horse 

Celestlno, the Mexican youth 

Sub-hero, Hank Malcom, tall young Texan, and appointed trail boss 
for the herds of Sliver Valley sent to Kansas on the 
new Chls\Bn trail 

Girl. Betsy White, whose father, a Civil War veteran and 

leader of Silver Valley' 8 ranchers, borrows money to 
grubstake his friends 

Father, Amos White, a former Colonel In the Confederate Array, 
now like all officers of that force granted amnesty 
by Federal govent* ^ 

~' John Barrett, merchant ~ carpetbagger 

Sub villains: 

Tank Loman« gunman 

Virgil Colorado, half-breed Cherokee Indian 

Dog Donnolly, mule-skinner 

Historical characters: 




Wild Bill Hlckc 

Buffalo Bl] 

Ben and Bil^Whompson 

Bat Masterson 

Wyatt Earp 

Gen. Sheridan 

Gen* Geo. A* Custer 

John Chi sum 


/%" ^^/.<,. .w..y neB-./fxh //untc'S 





Captain Bob Pryor, the Rio Kid 

Celestioo Mreles 

Saber j-^ 

Historical characters; ! Jj^ ^ 

Br-t Masterson 'KJ^ 

Ben Thompson f/^y JC 

Mayor Dog Kelly ^'■'^^Z^- 

Eappy Jack Morgo Y^- 

Buffalo Bill -• ■ 
Gen. Stieridan 
(Etc, ) 

Vern Burnett: Stalwart young buffalo hunter. Tall, broad, 
keen youth • . • TExpert marksman, plainsman 
and hunter • • Brown eyes, light curly hair 

Daughter of big hide merchant in Ellsv/orth, Kansas. 
Blue eyes, dark hair etc. 

Goey: her father. Deals in buffalo hides. He is an 
*' Independent dealer and well-liked. Stocky, 
bluff. Iron-grey, bushy hair 


Sam Wilklns, easy-going chief of Independent 
Dealers in buffalo hides. 


Nebraska Bull McGlone. Huge and dark, black 
hair, black mustache, blue^whiskered chin. 
Wears' a Nebraska hat, flat topped Stetson 

Drover sub-villain: Pete Tallifero 

0\r d h C- 
One-Shot Harry-'9 i«noit . Foreman of the 
Hide Syndicate's hunters and gunnies 
Crooked Sheriff, crooked Judge etc. Hvinters, gunnies. 



August 31, 1976 

Dear Mr. Carr: "v - 

I ha ve been a way from home most of August or I would have 
answered your letter more promptly. Not that I can be of 
any help with information about Emile Tepperman. I never 
knew him personally. Most of the old pulp writers lived in 
Nev^Iork, and so did I for a few months each year after I 
fir^st started to sell, but I never really knew many writers 
there. i 

Rogers Terrill would certainly have known Tepperman, but Rogers 
is dead. Harry Steeger who published the Popular Publications 
magazines (Dime Mystery, Dime Detective, Detective Tales, etc.,) 
probably knew Tepperman and could give you information. In 
all probabllty Ken White and Al Norton and Bill Fay who edited 
Popular magazines knew him, and maybe Steeger could give you 
the address for these men. .; 

Bill Cox, 3974 Beverly Glen Blvd., Sheitnan Oaks, Calif., 91423 
is an old pulp writer who knew and has kept up with a lot of 
others. He might give you some information. Almost irertaihly 
he could put you on the track of aomewne who knew Tepperman. 

I'm sorry I can't be of any more help. 

Several years ago I saw copies of one magazine devoted to the 
pulps, but no more. I would deeply appreciate it if you would 
have the editors of any such magazines send me a copy. 

_, Sincerely, 





July 17, 1985 

Dear Wooda Carr : 

I'm delighted to hear from you. There are so few who recall 
the old days of the pulps that a writer of those stories must 
treasure those who do remember. 

Alan Grossman is an old friend of ours whom we see frequently 
and whose friendship we enjoy. He is the only person we know 
of who has a complete inventory of the seventy-two (I think) 
Black Bat novels. 

We have very few of our old stories. XJe had them stored in my 
mother-in-law's home. She, being generous by nature, had a 
friend who was quite ill, confined to bed and loved pulp 
stories. So she bundled up all the magazines and loaned them 
to this sick friend. The friend subsequently died--of 
tuberculosis --and, as a precautionary measure everything in the 
patient's room was burned- -including every doggone magazine we 
had. So, we've no files of the pulps. 

You may notice I use the pronoun "we" . My wife Dorothy has 
collaborated in all our efforts and, in the old days, typed 
our copy. Since the pulp days, we have written paperbacks 
and, between us, have had 236 books published. 

My last effort in this direction was five 200,000 word novels 
of a plantation series during slavery times. It vjas called 
the Wyndward Series. Warner's published these books and they 
were quite successful. That ended my writing career. We 
retired January 1, 1985. My wife's last effort was a trilogy 
of long novels called the Valcour Series, also of the old 
South . 

We have also written a number of radio shows. The Nick Carter 
series on Mutual Broadcasting System, for instance. And we 
did a number of live TV shows and filmed TV shows. Hitchcock, 
General Electric Theatre, Ford Theatre and others, but TV 
was not for us , so we walked away a number of years ago to 
devote all our time to paperbacks. 

I think some publishers estimated, on the covers of our books, 
that we had sold thirty million copies. If we did, we 
gratefully rest our careers on that. 

There is a lot more I could write, especially about the 
contemporary styles on fiction and TV writing, but it can 


- 2 - 


keep for the present so this vron't be an overly long letter, 

I am, of course, very pleased to have heard from you. As 
for membership in your little group, I'm quite honored to 
accept the invitation. We shall be in touch. 



BLACK SrAfiM^Bmt ' c, 

Johnston jWCu/Zp) 

Oct 20 1.979 






Dear Ulooda - Always a special day hearing from you. Glad to have 

your card, jogqing me. Have been meaning to write you 
for too long. Writing myself crazy this summer along with 
trying to do a large part of the lAiork keeping this big old 
15p0 years old house fxrom falling douin on our heads. Will Wurry 
was here for a ffii days fxor a fine v sit. Got to get you up here 
one time. This watery world, the high-tide country , would make a 
nice contrast lUrdiln your deser^ country. 

Will be eagerly look ng for your Phantom article in Unicorn, and 
the western issue in PULP. Ihave a cpy of PULP, Wooda, but I dont 
think I have sden a copy of Unicarn or Doc Reader. 

Alden H. Morton? Al Norton? My gosh yes. He was tnfflatilibmgmmp 
chief editor of a g roup of pulps: SPIDER, CLUES I think, and some 
other detective mystery and western magazines when I was working at 
Polular editing DETECTIVE TALES and DIME MYSTERY under Rogers Terrill 
Glad to know he's still around. He might not remember me, I'm not sur 
but I very well remembsr him. Like Ken Bhite who had ADUEIMTUBE, Al 
Nortan stayed relaxed. The rest of them were hopped-up tense and nervo 
Let me know what you hear from Norton, will you? 

On the guestions you asked me, like wfeiat pulps you 
your friend relative to my stories -- I have been 
stories and have the information upstairs but cant 
WcDOiiilzWooda. I jumped from a high picket fence the 
accident. ffl^ji The cuff of my pants leg caught over 
jumped. Threw me down on my face. ..pants leg ripp 
my leg did, but have horrendous saell ng from torn 
muscles around my knee. Ambulance carted me off 3 
hospital. X ray shows no bones brohen. Just a q 
when I can get around on the leg. .and will get tha 
upstairs. We were scheduled to haul out^ of here 
be held up a while now. ■ 

should get from 
cateloging my old 

get up to get it 

other day, Ereak 

a paling as I 
ed fornatuately befo 

ligamemts and 
miles to a 
UBstion of time 
t informatin for yoi 
tomorrow, but will 


d stuff. . . 

I f(n 


d I do have 

WEEKLY, a 1 
WIRE. The 5 

some info 
ot of the^ 
hooting Gall 

_d about 70 stories in WESTEl 
elettes, complete novels and one serial 

ery Kid Chinese cowboy #1 Aug 7 1943 i; 

inq Gallery Gold Chinese cowboy #3 Oct 3D 1943 Runs in my m 

hem now.... Had some Guncat Bodman 

some more, but I 

"complete novels" 

and One Wore Town 
s eem tB ha\yg Ust 

15 Or 20 Len Siri 

from M 39 to 42.. 

I'll try to be mo 

cant detdl t 


to Tame No 
6d down here 

ngo series n 

Top Not 

re specifi o 

TORY. Trail of the Golden Horseshoe Nov i 
V 28, 1942 are the only two I 1941 

Had ab ut a dozen in ACE HIGH in 1931 
ovelettes in STAR WESTERN ~T.and_1932__^ 
ch Short Stories ARgosy oThers. . . .^ 
n another time, Wooda. 



■y /w^ Jc-^^(^ 

^Zy^Myo v>-<A^ ^XuKffJ^ff^ ?M '■^'^'''^ I w*t^ ^?2X*.^ 



TEL: Caia] BS3-S711 


March 2J4., 1975 


Mr. Wooda N. Carr 

2210 Chambers Lake Drive 

Olsmpia, Washington 98503 

Dear Nick: 

About G-8, Bob Hogan was tall, thin, blond, very outgoing and a 
voracious worker. He had a small private house in Hew Jersey 
where he, his wife and daughter lived (I think it was in Sparta) 
and I'm certain that G-8, Bull and Nippy lived there with him 
in his study. Although I never visited him, he told me he had 
pictures of them on the wall and they were very real to him. 
Bob visited with us frequently. He and Sid Bowen and O.B. 
Myers were in the office all the time and since we were all so 
young, we had loads of fvin. The office was constantly a mad- 
house and we did all kinds of wild things. There was no such 
thing as decorum or nose-to-the-grindstone. Through all of it, 
however, we developed great enthusiasm for the book and its 
characters and we were, believe it or not, as exacting and met- 
iculous about the product as anyone in the business. You would 
have thought our covers were designed for admission to the 
Louvre, judging by the amount of care and time we put into 
them. No, G-8 had no formal office or diary. Everything came 
from the head of Bob Hogan, even the editorials. However, Bob 
and I talked over the stories and planned the covers. It 
amuses me now to remember that every single cover Popular Pub- 
lications ever used until we sold it in 1972 was planned by me 
and the artist and then chosen by me, I kidded people by say- 
ing that I bought more oil paintings than anyone else in New 
York, No, Nick, I didn't have a peek at (5-8<s diary, because 
there was none, S-8 didn't have an office with us (we roamed 
all over the place) and we didn't have a safe where a diary 
was kept. One time when we received all the latest designs 
for Russian planes and armaments from two English Intelli- 
gence Agents ahead of our own national agencies - those we 
did, indeed, keep in a safe until a general of the air force 
came from Washington to s ee them amidst great ceremony, 

I'll tell Bruce Gelb your wishes when I see him and report 
back to you, 

G-8 and his p&ls Lived for us, but for Bob Hogan I think they 
were more real than anyone else he knew. And he could turn out 
copy with unbelievable speed* 





26 Sept 74 

Nick Carr: 

Glad you & the Pulpsters continue to support the 
new Avenger stuff. 

I will probably do these things at least through #36. 
After that I'm not sure. 

Paperback Library tells me THE MAN FROM ATLANTIS sold 
better than any of the immediately preceeding titles in the 
series. My most trustworthy local paperback dealer bears 
this out. Whether it's due to a lot of Atlantis freaks buying 
the book or to the jump in quality when I took over I don't 

The upcoming titles will be THE NIGHTWITCH DEVIL, BLACK 

..„.i_s_l guess I am fonder of Cole Wiison. But I've tried 
to let each of the crew more or less star in the various 
books. The Devil one gives Mac [whose Scot's burr I am 
growing most tired of] a, big part, the»»in the Chariots thing 
it is Smitty who tangles first with the flying saucers and 
so on. ihe Countess, whach I'll be working on next week, 
will focuss on Benson alone for a good part of the book as 
he journeys to South America to locate the lady of the 
title, who some say is a vampire. In the Demon thing Cole 
will be in Hollywood again & get into another scrape via 
his movie making friends. 

Usually I do favor holding back on the Avenger. The 
members of his crew seem more interesting in some ways than 
he is. Hopefully he'll liven up after tangling with that 

In The Death Machine, by the way, I introduced a new 
character. Smitty 's uncle, an eccentric scientist named 
Dr. Algernon Heathcote [after whom Smitty was named]. He 
didn't quite come off as strongly as I'd hoped, but he's not 

The Iron Skull will be a snpervillain type of fellow, 
sort of a 40s cyborg. If he works out I might make him 
a recurrent menace. That is, if the series goes on & X 
keep doing it. 

Thanks again for your kind words. 

Ron Goulart 

^^^-2^ 'Vb:,^^v:N^ 


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A Great Novel o1 The Cutter Massacre 

NOVEMBER ^B ^ ^S ^^ — 



M -W- J ^ 




Known Dates Of Magazines 
Which Published Western Stories By Hascal Giles 

Ace High Magazine 
Sept., 1943; Nov., 1943; 
June, 1947; Jan., 1947 

Action Stories 
Summer, 1947 

Big Book Western 

May, 1947; Sept., 1952 

Best Western "'•"^- ' ^-^ -r '■•■^ • *»*?* 
Jan., 1953; Sept., 1956 

Blue Book 
March, 1953 

Complete Western Book 
May, 1943; Nov., 1946 

Expiting Western 
(Wiriter _, 19Tr ;:> Sept. . 1951; 
J"anuafy, 19"53 

Fifteen Western Tales 
Sept., 1951; March, 1953; 
March, 1954 

Five Western Novels 
April, 1953 

Giant Western 

October, 1952 

Lariat Story Magazine - 
July, 1946; May, 1947 

Leading Western 

Feb., 1948; July, 1948 

Masked Rider Western 
Dec, 1947; June 1948 



Popular Western 
March, 1953 

Range Riders Western 
Aug., 1946; July, 1947; 
May, 1948 

Ranch Romances 

Feb. 16, 1951; May 23, 1952 

July 18, 1952; Oct. 8, 1954 

Rangeland Romances 
March, 1952; May, 1954 

Thilling Ranch Stories . 
July, 1847 ~. , 

illing -i^estern 
Jan., 1945;^ May, 1947 

Ten Story Western 
Dec, 1946; Sept. 1947; 
Oct., 1948; June, 1952; 
June, 1953 

Texas Rangers 

Oct., 1943; Sept., 1947; 

August, 1952 

New Western 

Nov., 1943; Sept., 1952; 

November 1953 

West — 

Nov., 1952; Fall, 1953 

Western Rangers *?i.H 
Dec, 1953 "%< 

Western Short Stories 
March, 1943; May, 1950; 
Aug., 1952; Oct., 1952 

Stories Annual 






* Masked Rider entitled Death In The Saddle, Date Unknown. 
Western Novel, Kansas Trail, published in paperback and 
hard cover by Ballantine Books, distributed by Houghton Miffl 
in 1956. 


4, 1988 

Dear Nick: 

Somewhere in the midst of the letter I wrote you yesterday I 
drew a blank. I got sidetracked talking about Harry Steeger 
and completely forgot to comment on the quetions you asked me 
about the Masked Rider. That fact dawned on me when I reached 
the post office, but I decided to let it go and write a 
second letter. 

Before I wrote my first Masked Rider, Leo Margulies, 
editorial director of Standard Magazines, sent me a 
3-or-4-page set of guidelines which detailed the 
characteristics and dress of the Masked Rider and Blue Hawk, 
as well as his side-kicks Hank Ball and Dusty Trail. In doing 
the novels, I stuck pretty close to these guidelines, 
although I didn't use the exact language suggested by 

Strangely enough, I didn't particularly enjoy doing these 
things because it was such a long, drawn-out process. You had 
to do three sample chapters and a synopsis of the story first 
and let Margulies see where you were headed with it. He 
either approved it, suggested changes, or turned it down at 
this point. If he gave you the go-ahead, you did the novel 
and if it turned out pretty much the way you outlined it, he 
accepted it and you got paid. In my case, each step went from 
me to my agent then to Margulies, then from Margulies to my 
agent, and from the agent to me. If you didn't turn out 
another short story or two while you were waiting, you'd go 
nuts from suspense and fail to make any money that month 
besides. . " 

Despite the process it's the only sensible way to do it. At 
least the author didn't write 30,000 words and THEN FIND OUT 
IT WASN'T GOING TO BE PUBLISHED. Thank goodness the first 
outline for the few I did were approved the first time out so 
I always got paid for my efforts. 

I think I still have the guidelines somewhere that Margulies 
sent me, but I haven't been able to find them. If I run 
across them some time soon, I'll send them on. At least 
you'll have some data about the Masked Rider from "horse's 
mouth" . 

Best regards. 

1 0/=- yy/A-7- XW/P^ ^/^^^^ — 



Popular Publications, Inc. 

New York, N.Y. IOOI7 

July 12, 1973 

Mr. Nick Carr 

2210 Chambers Lake Drive 

Panorama City 

Olympia, Washington 98503 

Dear Nick: 

Yours of July 10th just arrived and I think your remarks 
about the word "captain" in the title of a magazine are 
cogent. As you say, "captain" connotes authority and 
suggests a person who is a cut above the ordinary man. 
I remember in addition that the word "captain" represented 
to me a person destined for adventure. He was also a per- 
son physically fit because he had passed all the examina- 
tions of an army career and had advanced considerably in 
the ranks of authority. Therefore, he represented adventure, 
dash and experience and gave the impression of being the 
type of man who would deal with exciting situations and, 
because of his many attributes, would be able to handle 
them well. 

All titles were, of course, carefully thought out and repre- 
sented the theme of the magazine. I once conducted a count 
of books I had started and the list ran over 300 titles. 
All of them were successful at one time or another, although 
some did not last too long, depending on the attractiveness 
^f t he t i tle an d the genius of the authors i nvolve d. 

Yes, Wu Pang was my idea and I thought of the name much the same as 
I put together the Yen Sin. I laid down the story line and shaped 
the leading characters. The editor you mentioned must have been me 
because, as I say, I did get the ideaand started the magazine - and 
it is, frankly, a desire to ride on the coattails of Pu Manchu. I 
remember when my father died I was a very young boy and while all 
the funeral arrangements were going on I read Pu Manchu. It was a 
great palliative with all the sorrow going on around me and absorbed 
me thoroughly on occasions when relatives were weeping all over 
the place! Yes, it is my memory that Hogan also wrote the Temple 
of Death. Bob had a passion to write everything in every magazine 
he produced, and, of course, he did an excellent job, he was so 
full of enthusiasm and talent. 




\ \ asa LEXINGTON AVENUE. NEVA/ YORK, N. Y. 10017 

TEL: [SIS] BB7-BS50 


May 22, 1979 

Mr. ¥ooda W. Carr 

305 South Val Vista Drive #5? 

Mesa, Arizona 8^201; V, 

Dear Woo da: 

I received your two postcards and was glad to hear from you, 
as always. You're ahead of me on most of the items you men- 
tioned - I missed all of them. First off, I didn't see the 
recent special on TV "Ike," the two Western pulps could well 
have been former books of ours and I would have been able to 
\all_jjTstantly had I seen the show. 


I have been so doggone busy I haven't had the opportunity to 
contact Norm Saunders in New York. I thought he was a de- 
lightful chap and I enjoyed his company so much at Pulpcon 6. 

As for Harold Cruickshank' g passing, I can think of no sadder 
event that has befallen the writing community in recent times. 
Harold's stones were all of them as genuine and authentic 
as any fiction to be found anywhere. Harold's goal was to 
Show his native woods in all the glory and immensity he found 
there. I bought his first series in about 1928, when I was 
working xor the Dell Publishing Company briefly. When we 
started Popular Publications in 1930, I continued to buy them 
and I bought them just as long as he wrote them. Every one of 
them was a great effort because Harold couldn't do any throw- 
away writing. His pride in the woods and in his writing would 
not have allowed him to. He was, of course, enormously revered 

in Edmonton an€ wherever he went - and, althou^ we cor- 
responded through hundreds of letters, I never met him - 
but I always knew, as did all of his friends, that he was 
a giant of a man. 

What's this about XENOPHIIE being replaced. I didn't^ _ 
know it had been discontinued. Does this mean financial 
problems for Nils Hardin or is he working on some other 
project. Either way, it will be a great loss to Pulp- 
fandom. ,': ; ":v 


V, ■ ^^ 1 

"■^All the best, 



Before the 'book's epilogue I thought perhaps the reader might like to 
glance over brief comments from letters written over time to me from various 
aut^^ors. I have a binder filled with correspondence that gives one a look into 
t'-a_t_^ fascinating world of the pulps. So just sit back in that easy chair while 
i 'tjrpe" and see v;hat in.terestina; facts emerge. 

HASCAL GILES: August, 2002: "Thanks for sending me a copy of Lariet Story 
Magazine. Since I don't have any recollection of wriging "Lightweight Lawman," 
I took time to read it from start to finish." 

In another letter from Giles, penned 25 April, 1987s "Strangely enough I did 
not associate your name with John Dickson Garr, You should be proud to have such 
an accomplished writer as a relative. I have read a lot of his stories over the 
years, and the same holds true for Hugh B. Cave." 

HON GOULART, Z9 September, 1977: "All I know about Tepperman is that Fred 
Davis told me he took over the Operator 5 series. I leave it to diggers like you 
as \;ell as Will Murray to find out more about him." 

V/iATT BLASSINGAME, "e November, 1977: "I'm fascinated now by thbe prices being 
paid for those old magazines, Abmut twenty years ago I tore up maybe two hundred 
of them, saving my stories and throwing the rest away." 

JOE ARCHIBALD, July, 1976: "I'm sorry to tell you I have no knowledge of the 
whereabouts of Emile G. Tepperman who, during the last decade has become as big 
a mystery as was Howard Hughes. I used to know him well and I'm certain he wrote 
ny his real name." 

HANLY WADE WELLMAN, 7 July, 1973: "Yes, I wrote two G-Men novels, WAR CRY OF 
I'm sorry to say that I can't glveL;;you dates of any of these, but well I remember 
how one went about writing thege. ,tt wass.o.p. with Better Rjblications, I'd done 
several book-length sf, stories for- them back in the mid-thirties. You, the author, 
were asked to come up with a book- length. There was a story conference, as intense 
as those in the film industry, except not so much money flying around. Characters, 
settings (oh yes, notably settings^, a violent pj.ot, etc., and then go on and write 

With G-MEN, Capt. FUTURE, you already had the characters: The heroes Dan Fowler 
and Captain Future, each with a bunch of stooges — those already characterized in 
earlier stories. And the plot always had its pattern, too. I remember Mort Weisinger, 
the Qd-itor, saying about Dan Fowler: "We want him in three critica.l situations — 
capture or trapped somehow, and its dangers and difficulties in gerring free." 
Dutifully I supplied those crises. In WAR CRY OF DEATH (on an Indian reservation j 
he was flung into a stall with a murderous stallion; in STSRM OVER GARIB GAY (in 
the West Indies), he was thrown into a tank with a gigantic octopus. Those to vary 
the usual captures and lockups. And always the villain, powerful, murderous, 
brilliant, and manifestly some plausable guy among those surrounding the hero and 
commenting on the case. Revealed only in the last chapter," 

HUGH B. GAVE, 1» August, 1995: "if you know Robert Harris, the artist, please 
ask him if he ever did a cover for Far Esst Adventure Stories that was a portrait, 
mostly in red and gold, of a Chinese mandarin or warlord. The editor of Far East, 
Wally Bamber, gave me the original of that cover sometime back in the thirties. 
Over the years I've lost it, much to my regret, but for years it hung on my wall 
and I sure was proud of it. (It was for a story of mine.) And I seem to remember 
it had the name Harris on it." 

KEN GHOSSETT, August, 1975: "tly first pulp story was The Aaxon Burr i'^urder Case, 
under the name of Grossen. Now, the Green Lama came into existence m a sort of 
off-hand manner. Double Detective wasn't doing too well and they wanted to flesh it 
up. I had nothing to do with editing it but was called in on conferences with 
Gibney and I&ul Johnson, who was the editor, about what could be done. It was finally 
decided to do something to compete with the Shadow and I was asked to draw up a,n 
outline for such a character. The result was the Green Lama first called the Gray 
Lama but changed for reasons of color on the cover, and I was also asked to write 
it. I did 18 Green Lama novels under the name of Richard Foster. They ran to about 
lorty thousand words each." 

HAROLD F. CHUIGKSHANK, iii March, 1975' "Bot) Hogan was one of the most eager, 
spirited, earnest young writers I have ever known. I knew BoD many years ago when he 
wrote to me from New York for a big of assistance in getting his very first sale 
of an Air War story. He was such a nice young chap, I at once wrote several pages ot 
helpful material, since he flattered me by suggesting that it was my style o± copy 
he wished to write. Mr. Steeger and Bob created the famous character, G-b and Dob 
then practically owned the magazine. Battle Aces, which became the very popular G-b 
And His Battle Aces." 

TALMAGE POWELL, 11 March, 19005 

The pulps were as truly American as jazz; and like the 
music, the passage of time seems to be assessing pulp with 
more objectivity than during the days when they were on the 
news-stands month after month. Like all forms of expression 
the pulp genre contained its full share of junk; but through 
the focus time-past and hindsight, quite another face of pulp 
emerges: a roster of the finest fiction writers enriching 
American culture would include names of talent which had its 
first baptism in print on a rough-paper page, Ray Bradbury, 
Walt Corburn, Dashiell Haramett, ad infinitum; a review of 
pulp from the vantage point of the present suggests that in 
the miasma of excellent, good, bad, indifferent, pulp just 
about single-handedly fashioned the modern science fiction ^ 
story, the hard-boiled private eye, contributing immeasurably 
in the western and adventure developments. So it would seem 
that anyone who would sell pulp short simply is not fully 
acquainted with a mosaic out of which was distilled a major 
contribution to American art. 

Norman Daniels . 28 Ifarc h, 1988 
I remember the old pulp days as those of fulfillment 
and ftm, although there was a lot of v7ork involved. Still, 
it was a somewhat carefl^c occupation and quite rewarding, 
despite the word rates which, today, would resemble slave 
labor. Fifty dollars for a five thousand word short story 
was quite gratifying in those dear dead days, especially 
when you sold a lot of them. I know we endured the big _ 
depression of that era' without beina greatly affected.' 

The editors then, were wonderful to get along with, "^ 
No pomposity, no blaring egos. Where, today, would you 
find the likes of Harry Steeger, Leo Margulies and John 
Nanovic with their fine cooperation and understanding? 

I think today, the memory of the pulps are largely 
underestimated. There was still some pretty good writing 
in those days and the plotting still shows up in many of 
the TV and movie projects. 

WALTER M. BAUHHOPER, 10 December, I98O: "The time I spent in the pulps, about 
ten years were I think, the most fun of my whole life. Sure, I enjoyed the slicks, 
and particularly enjoyed the money, up to $2500.00 a picture, but I enjoyed the 
pulps more. Whenever I delivered a painting, Harry Steeger and I would play ping 
pong. He invariably beat me, which I ascribed to his having had an education at 
Erinceton. It wasn't a Case of losing to the boss on purpose, either. He was just 

to damn good." 

JEAN FRANCIS WEBB, 28 October, 19^7 s "I hadn't believed those old pulp days 
were remarkable at all, let alone by so vital and loyal a body of devotees." 

ROBERT G. HARRIS. 30 August, 2003: "Pulp art was most meaningfiul itnd a very 
important step in learning to become a successful illustrator. I will always be 
greatful tor this early rewarding training. 

RYERSOT? JOHNSON, 31 May, 1979: "You mentioned Frederick G. Davis. He wrote such a 
beautiful story. I was editing at Popular when his novelettes were coming in for 
Dime Mystery and Detective Tales. We'd scrap for the privilege of getting to edit 
them— they were such fascinating reading. Davis and Day Keen." 

KENNETH A. FO¥I£R, 7 April, 19bO: "In answer to your letter of 3 April 1 wish I^ 
could answer your question ret;arding Emile C. Teppecman. But regretiuliy 1 cannot." 


"JLn-" 1 

1 JhoH el lomodEon. bteikH In, . 
•J „„ ^ti. ^p «i It^ fly OaA^t 






I owe an apology to one particular group of artists — those who illustrated 
the interior pages ol' every pulp magazine, irterhaps someone will write about 
each of them in another book. Their excellent sketches defies description 
lor one reason alone — each told a story in itself. 

Sometimes they were identified and the reader looked forward to viewing 
Tiore of their art. One simply cannot imagine a SPIDEri story without the 
sketches of John Fleming Gbuld. He also was responsible for Jimmy Christopher 
of Operator 5 a.nd G-8 and His Battle Aces, 

Unfortunately I missed mefjting Gould at one of the pulp magazine conven- 
tions. But fortunately he made a tew sketches that are now in the hands of 
a couple of friends. 

Another is James Hozen who gave us a fine portrait of Dr. Yen Sin. Don't 
overlook Prank ELachy and John flichard Flanagan, who brought The i'iyeterious 
Wu Fang to life. 

Can you imagine a 
CQpsy of Dime Hystery 
Ifegazine wothout the 
illustrations of Amos 

oometitnes their names | 
were listed in small 
print like in the 
October, 19 ^U copy 
of Famous Fantastic 







Here you read — Cover by DeSoto. Inside Illustrations by Finlay, Lawrence 
and iJ'aMoett. 

1 selected a copy at random from my liruited pulp collection, opened to the 
first page of G-Men from October, 19J5« This v/as the first story and had in 
small print these viords: (Brofusely Illustrated.} 

Let's try Fantous Fantastic Mysteries, October, 19^7. Along the bottom of 
the Index page vfe read: Cover by Lawrence. Inside Illustrations by Finlay, 
Box, and Napoll. 

From Western Short Stories, December, 193f'» is this: Cover Illustrations 
by J.¥. Scott. Illustrations by L.F. Bjorklund. 

The magazine I'lystery Novels, dated September, 1939 » had the interior 
artist's name in very small print on the lower right, but I just couldn't 
quite make it out. So it goes. 

But let's f^ive all of those artist's their rightful place in the history 
of the pulp magazines. As a man named Francois Kabelais once wrote: "And 
thereby hangs a tale," 

Indeed it is waiting to be told. Meanwhile I salute each one of them I 






30HA1D LnVHM, 




-•- V 





Momm J. 








,' »j 


^ ^ 


As long as people keep the memory of America's Literary Golden Age alive, this will never be. 







Nick Carr's 



Features over 100 Heroes & Villains from the 

days of "The Bloody Pulps"... 
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This is the Definitive Guide for the Doc 
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The Collected Essays of Nick Carr... 
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6"x9"... 362 pages... $19.99 





Nick Carr